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Photographic 

Sciences 
Corporation 


23  WEST  MAIN  STREET 

WEBSTER,  N.Y.  14580 

(716)  872-4503 


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CIHM/ICMH 

Microfiche 

Series. 


CIHIVI/ICIVIH 
Coilectioii  de 
microfiches. 


Canadian  Institute  for  Historical  Microreproductions  /  Institut  Canadian  de  microreproductions  historiques 


Technical  and  Bibliographic  Notes/Notes  techniques  et  bibllographlques 


The  Institute  has  attempted  to  obtain  the  best 
original  copy  available  for  filming.  Features  of  this 
copy  which  may  be  bibliographically  unique, 
which  may  alter  any  of  the  images  in  the 
reproduction,  or  which  may  significantly  change 
the  usual  method  of  filming,  are  checked  below. 


Coloured  covers/ 
Couverture  de  couleur 

Covers  damaged/ 
Couverture  endommag6e 

Covers  restored  and/or  laminated/ 
Couverture  restaur^e  et/ou  pellicul6e 

Cover  title  missing/ 

Le  titre  de  couverture  manque 

Coloured  maps/ 

Cartes  gdographiques  en  couleur 

Coloured  ink  (i.e.  other  than  blue  or  black)/ 
Encre  de  couleur  (i.e.  autre  que  bleue  ou  noire) 

Coloured  plates  and/or  illustrations/ 
Planches  et/ou  inustrations  en  couleur 

Bound  with  other  material/ 
Reli6  avec  d'autres  documents 

Tight  binding  may  cause  shadows  or  distortion 
along  interior  margin/ 

La  reliure  serr^e  peut  causer  de  I'ombre  ou  de  la 
distortion  le  long  de  la  marge  int^rieure 

Blank  leaves  added  during  restoration  may 
appear  within  the  text.  Whenever  possible,  these 
have  been  omitted  from  filming/ 
II  se  peut  que  certaines  pages  blanches  ajoutdes 
lors  d'une  restauration  apparaissent  dans  le  texte, 
mais,  lorsque  cela  6tait  possible,  ces  pages  n'ont 
pas  6x6  filmdes. 

Additional  comments:/ 
Commentaires  suppldmentaires: 


D 
D 
D 
D 
D 
D 
D 
D 


n 


L'Instltut  a  microfilm*  le  meilleur  exemplaire 
qu'il  lui  a  6t6  possible  de  se  procuro;.  Les  details 
de  cet  exemplaire  qui  sont  peut-dtre  uniques  du 
point  de  vue  bibllographique,  qui  peuvent  modifier 
une  image  reprodulte,  ou  qui  peuvent  exiger  une 
modification  dans  la  mdthode  normale  de  filmage 
sont  indlqu6s  ci-dessous. 


Coloured  pages/ 
Pages  de  couleur 


m 


I — I    Pages  damaged/ 

I — I    Pages  restored  and/or  laminated/ 


Pages  endommag^es 

Pages  restored  and/oi 

Pages  restaurdes  et/ou  pelliculdes 

Pages  discoloured,  stained  or  foxe^ 
Pages  d6colordes,  tachet6es  ou  piqudes 

Pages  detached/ 
Pages  d^tachdes 

Showthrough/ 
Transparence 

Quality  of  prir 

Quality  in6gale  de  I'impression 

includes  supplementary  muterii 
Comprend  du  materiel  suppldmentaire 

Only  edition  available/ 
Seule  Edition  disponible 


I — I  Pages  discoloured,  stained  or  foxed/ 

I — I  Pages  detached/ 

I      I  Showthrough/ 

I — I  Quality  of  print  varies/ 

I — I  includes  supplementary  muterial/ 

I — I  Only  edition  available/ 


D 


Pages  wholly  or  partially  obscured  by  errata 
slips,  tissues,  etc.,  have  been  ref limed  to 
ensure  the  best  possible  image/ 
Les  pages  totalement  ou  partiellement 
obscurcles  par  un  feuillet  d'errata,  une  pelure, 
etc.,  ont  6t6  filmdes  d  nouveau  de  faqon  d 
obtenir  la  meilleure  image  possible. 


D 


This  item  is  filmed  at  the  reduction  ratio  checked  below/ 

Ce  document  est  film*  au  taux  de  reduction  indiqud  cl-dessous. 


10X 

14X 

18X 

22X 

26X 

30X 

X 

1?X 

16X 

20X 

24X 

28X 

□ 


32X 


fier 

e 
ge 


The  copy  filmed  here  has  bt«an  reproduced  thanks 
to  the  generosity  of: 

Library  of  Congress 
Photodiiplication  Service 

The  Images  appearing  here  are  the  best  quality 
possible  considering  the  condition  and  legibility 
of  the  original  copy  and  in  keeping  with  the 
filming  contract  specifications. 


L'exemplaire  film*  fut  reproduit  grAce  A  la 
gAnArositA  de: 

Library  of  Congress 
Photoduplication  Service 

Les  images  suivantes  ont  6t6  reproduites  avec  le 
plus  grand  soin,  compte  tenu  de  la  condition  et 
da  la  nettetA  de  l'exemplaire  filmA.  et  en 
conformity  evec  les  conditions  du  contrat  do 
filmage. 


Original  copies  in  printed  paper  covers  are  /limed 
beginning  with  the  front  cover  and  ending  on 
the  last  page  with  a  printed  or  illustrated  impres- 
sion, or  the  back  cover  when  appropriate.  All 
other  original  copies  are  filmed  beginning  on  the 
first  page  with  a  printed  or  Illustrated  impres- 
sion, and  ending  on  the  last  page  with  a  printed 
or  illustrated  impression. 


The  last  recorded  frame  on  each  microfiche 
shall  contain  the  symbol  — ^>  (meaning  "CON- 
TINUED"), or  the  symbol  V  (meaning  "END"), 
whichever  applies. 


Les  exemplaires  originaux  dont  la  couverture  en 
papier  est  ImprimAe  sont  filmAs  en  commengant 
par  le  premier  plat  et  en  terminant  soit  par  la 
dernlAre  page  qui  comporte  une  empreinte 
d'impression  ou  d'lllustration,  soit  pat  le  second 
plat,  selon  le  cas.  Tous  les  autres  exemplaires 
originaux  sont  filmAs  en  commen9ant  pai  la 
premiere  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustrotion  et  en  terminant  par 
la  dernlAre  page  qui  comporte  une  telle 
empreinte. 

Uii  des  symboles  suivants  apparaitra  sur  la 
dernidre  image  de  cheque  microfiche,  selon  le 
cas:  le  symbols  — ►  signifie  "A  SUIVRE",  le 
symbole  V  signifie  "FIN". 


Maps,  plates,  charts,  etc..  may  be  filmed  at 
different  reduction  ratios.  Those  too  large  to  be 
entirely  included  in  one  exposure  are  filmed 
beginning  in  the  upper  left  hand  corner,  left  to 
right  and  top  to  bottom,  as  many  frames  as 
required.  The  following  diagrams  illustrate  the 
method: 


Les  cartes,  planches,  tableaux,  etc.,  peuvent  dtre 
filmAs  A  des  taux  de  reduction  diffArents. 
Lorsque  le  document  est  trop  grand  pour  dtre 
reproduit  en  un  seul  clichA,  il  est  filmA  A  partir 
de  Tangle  supArieur  gauche,  de  gauche  d  droite, 
et  de  haut  en  bas,  en  prenent  le  nombre 
d'images  nAcessalre.  Les  diagrammes  suivants 
iliustrent  la  mAthode. 


ita 


ilure. 


3 


I2X 


\ 


1 

2 

3 

1 

2 

3 

4 

5 

6 

1 


] 


PARIS 


GRANT  ALLEN'S  HISTORICAL  GUIDE 
BOOKS  t6  the  PRINCIPAL  CITIES  OF 
EUROPE  TREATING  CONCISELY  AND 
THOROUGHLY  OF  THE  PRINCIPAL 
HISTORIC  AND  ARTISTIC  POINTS 
OF  INTEREST  THEREIN 


NEW  YORK 

A.   WESSELS    COMPANY 

1900 


**J.. 


f» 

'*    .4 


VS 


INTRODUCTION 

THE  object  and  plan  of  these  Historical  Handbooks  Is 
somewhat  different  from  that  of  any  other  guides  at 
present  before  the  public.  They  do  not  compete  or  clash 
with  such  existing  works ;  they  are  rather  intended  to 
supplement  than  to  supplant  them.  My  purpose  is  not  to 
direct  the  stranger  through  the  streets  and  squares  of  an 
unknown  town  towards  the  buildings  or  sights  which  he 
may  desire  to  visit ;  still  less  is  it  my  design  to  give  him 
practical  information  about  hotels,  cab  fares,  omnibuses,  tram- 
ways, and  other  every-day  material  conveniences.  For  such 
details,  the  traveller  must  still  have  recourse  to  the  trusty 
pages  of  his  Baedeker,  his  Joanne,  or  his  Murray.  I  desire 
rather  to  supply  the  tourist  who  wishes  to  use  his  travel  as  a 
means  of  culture  with  such  historical  and  antiquarian  in- 
formation as  will  enable  him  to  unders^i^a,  and  therefore  to 
enjoy,  the  architecture,  sculpture,  painting,  and  minor  arts  of 
the  towns  he  visits.  In  one  word,  it  is  my  object  to  give  the 
reader  in  a  very  compendious  form  the  result  of  all  those 
inquiries  which  have  naturally  suggested  themselves  to  my 
own  mind  during  thirty-five  years  of  foreign  travel,  the  solution 
of  which  has  cost  myself  a  good  deal  of  research,  thought,  and 
labour,  beyond  the  facts  which  I  could  find  in  the  ordinary 
handbooks. 

For  several  years  past  I  have  devoted  myself  to  collecting 
and  arranging  material  for  a  set  of  books  to  embody  the  idea 


4  INTRODUCTION 

I  had  thus  entertained.  1  earnestly  hope  they  may  meet  a 
want  on  the  part  of  tourists,  especially  Americans,  who,  so  far 
as  my  experience  goes,  usually  come  to  Europe  with  an  honest 
and  reverent  desire  to  learn  from  the  Old  World  whatever  of 
value  it  has  to  teach  them,  and  who  are  prepared  to  take  an 
amount  of  pains  in  turning  their  trip  to  good  account  which 
is  both  rare  and  praiseworthy  For  such  readers  I  shall  call 
attention  at  times  to  other  sources  of  information. 

These  guide-books  will  deal  more  particularly  with  the  Great 
Towns   where   objects   of    art   and    antiquity  are   numerous. 
In  every  one  of  them,  the  general  plan  pursued  will  be  some- 
what as  follows.     First  will  come  the  inquiry  why  a  town  ever 
gathered  together  at  all  at  that  particular  spot— what  induced 
the  aggregation  of  human  beings  rather  there  than  elsewhere. 
Next,  we  shall  consider  why  that  town  grew  to  social  or  political 
importance  and  what  were  the  stages  by  which  it  assumed  its 
present  shape.    Thirdly,  we  shall  ask  why  it  gave  rise  to  that 
hiRher  form  of  handicraft  which  we  know  as  Art,  and  towards 
what  particular  arts   it  especially  gravitated.    After  that,  we 
shall  take  in  detail  the  various  strata  of  its  growth  or  develop- 
ment, examining  the  buildings  and  works  of  art  which  they 
contain  in  historical  order,  and,  as  far  as  possible,  tracing  the 
causes  which  le^'tpjtbeir  evolution.     In  particular,  we  shall 
lay  stress  upon  thtf'origin  and  meaning  of  each  structure  as 
an  organic  whole,  and  upon  the  allusions  or  symbols  which 
its  fabric  embodies. 

A  single  instance  will  show  the  method  upon  which  I  intend 
to  proceed  better  than  any  amount  of  general  description. 
A  church,  as  a  rule,  is  built  over  the  body  or  relics  of  a 
particular  saint,  in  whose  special  honour  it  was  originally 
ei*,cted.  That  saint  was  usually  one  of  great  local  importance 
at  the  moment  of  its    erection,   or   was  peculiarly  implored 


may  meet  n 
ts,  who,  so  far 
irith  an  honest 
Id  whatever  of 
ed  to  take  an 
Kcount  which 
rs  I  shall  call 

with  the  Great 
ire  numerous. 
I  will  be  some- 
hy  a  town  ever 
-what  induced 
lian  elsewhere, 
cial  or  political 
1  it  assumed  its 
ave  rise  to  that 
rt,  and  towards 
After  that,  we 
wth  or  develop-    ■ 
art  which  they 
ble,  tracing  the 
icular,  we  shall 
ch  structure  as 
symbols  which 

which  I  intend 
;ral  description. 
f  or  relics  of  a. 
:  was  originally 
local  importance 
uliarly  implored 


INTRODUCTION 


.ngainst  plague,  foreign  enemies,  or  some  other  pressing  and 
dreaded  misfortune.  In  dealing  with  luch  a  church,  then,  I 
endeavour  to  show  what  were  the  circun>stances  which  led  to 
its  erection,  and  what  memorials  of  these  circumstances  it  still 
retains.  In  other  cases  it  may  derive  its  origin  from  some 
special  monastic  body— Benedictine,  Dominican,  Franciscan— 
and  may  therefore  be  full  of  the  peculiar  symbolism  and  his- 
torical allusion  of  the  order  who  founded  it.  Wherever  I  have 
to  deal  with  such  a  church,  I  try  as  far  as  possible  to  exhibit 
the  effect  which  its  origin  had  upon  its  architecture  and  decora- 
tion ;  to  trace  the  image  of  the  patron  saint  in  sculpture  or 
stained  glass  throughout  the  fabric  ;  and  to  set  forth  the  con- 
nection of  the  whole  design  with  time  and  place,  with  order 
and  purpose.  In  short,  instead  of  looking  upon  monuments 
of  the  sort  mainly  as  the  product  of  this  or  that  architect,  I 
look  upon  them  rather  as  material  embodiments  of  the  spirit 
of  the  age— crystallizations,  as  it  were,  in  stone  and  bronze,  in 
form  and  colour,  of  great  popular  enthusiasms. 

By  thus  concentrating  attention  on  what  is  essential  and 
important  in  a  town,  I  hope  to  give  in  a  comparatively  short 
space,  though  with  inevitable  conciseness,  a  fuller  account  than 
is  usually  given  of  the  chief  architectural  and  monumental 
works  of  the  principal  art-cities.  In  dealing  with  Paris,  for 
example,  I  shall  have  little  to  say  about  such  modern  con- 
structions as  the  Champs  Elys^es  or  the  Eiffel  Tower;  still 
less,  of  course,  about  the  Morgue,  the  Catacombs,  the  waxworks 
of  the  Musde  Grdvin,  and  the  celebrated  Excursion  in  the  Paris 
Sewers.  The  space  thus  saved  fnm  vulgar  wonders  I  shall 
hope  to  devote  to  fuller  explanation  of  Notre- Dame  and  the 
Sainte  Chapelle,  of  the  mediaeval  carvings  or  tapestries  of 
Cluny,  and  of  the  pictures  or  sculptures  in  the  galleries  of  the 
Louvre.    Similarly  in  Florence,  whatever  I  save  from  descnp- 


1". 


1  ■ 


I  I 


INTRODUCTION 


tion  of  the  Cascine  and  even  of  the  beautiful  Viale  del  Coin 
(where  explanation  is  needless  and  woid-painlins  superfluous), 
I  shall  Rive  up  to  the  IJarKello,  the  Uffi^i,  and  the  I'itti  I'alace. 
The  passing  life  of  the  moment  does  not  enter  into  my  plan  ; 
I  regard  each  town  1  endeavour  to  illustrate  mainly  as  a 
museum  of  its  own  history 

For  this  reason,  too,  I  shall  devote  most  attention  in  every 
case  to  what  is  locally  illustrative,  and  less  to  what  is  merely 
adventitious  and  foreign.     In  Paris,  for  instance,  1  shall  have 
more  to  say  about  truly  Parisian  art  and  history,  as  embodied 
in  St.  Denis,  the  lie  de  la  Cit^,  and  the  shrine  of  Ste.  Ceneviive, 
than  about  the  Egyptian  and  Assyrian  collections  of  the  Louvre. 
In  Florence,  again,  1  shall  deal  rather  with  the  Etruscan  re- 
mains, with  Giotto  and  Fra  Angelico,  with  the  Duomo  and  the 
Campanile,  than  with  the  admirable  Memlincks  and  Rubenses 
of  the  Uffi^i  and  the  Pitti,  or  with  the  beautiful  Van  der  Goes 
of  the  Hospital  of  Santa   Maria.     In   Bruges  and   Brussels, 
once  more,  I  shall  be  especially  Flemish  ;  in  the  Rhine  towns, 
Rhenish  ;  in  Venice,  Venetian.     I  shall  assign  a  due  amount 
of  space,  indeed,  to  the  foreign  collections,  but   I  shall  call 
attention  chiefly  to  those  monuments  or  objects  which  are  of 
entirely  local  and  typical  value. 

A,  regards  the  character  of  the  information  given,  it  will  be 
mainly  historical,  antiquarian,  and,  above  all,  explanatory. 
I  am  not  a  connoisseur-an  adept  in  the  difficult  modern 
science  of  distinguishing  the  handicraft  of  various  masters,  m 
painting  or  sculpture,  by  minute  signs  and  delicate  mferent.al 
processes.  In  such  matters.  I  shall  be  well  content  to  follow 
the  lead  of  the  most  authoritative  experts.  Nor  am  1  an  art- 
critic-a  student  versed  in  the  technique  of  the  studios  and  the 
dialect  of  the  modelling-room.  In  such  matters,  again,  I  shall 
attempt  little  more  than  to  accept  the  general  opinion  of  the 


mos 

the 

read 

x%i\ 

reco 

a  Si 

lege 

indii 

judg 

sent 

attai 

F< 
scul] 
touri 
Jam* 
Mad 
in  It 
an  i 
abou 
local 
ticuh 

I  I 
a  ma 
missi 
those 
unnei 
and  i 


r«»- 


L 


INTRODUCTION 


ale  del  Coin 
superfluous), 
I'itli  Talace, 
ito  my  plan  \ 
mainly  as  a 

tion  in  every 
lat  is  merely 
1  shall  have 
as  embodied 
te.  Ccncviive, 
3f  the  Louvre. 
Etruscan  re- 
lomo  and  the 
\nA  Rubenses 
'^a.n  der  Goes 
and  Brussels, 
Rhine  towns, 
I  due  amount 
it   I  shall  call 
which  are  of 

ven,  it  will  be 
,  explanatory, 
fficult  modern 
>us  masters,  in 
:ate  inferential 
ntent  to  follow 
r  am  1  an  art- 
studios  and  the 
i,  again,  1  shall 
opinion  of  the 


. 


most  discriminative  judges.  What  I  aim  at  rather  is  to  expound 
the  history  and  meaning  of  each  work— to  put  the  intelligent 
reader  in  such  a  position  that  he  may  judge  for  himself  of  the 
assthetic  beauty  and  success  of  the  object  before  him.  To 
recognise  the  fact  that  this  is  a  Perseus  and  Andromeda,  that 
a  St.  Barbara  enthroned,  the  other  an  obscure  episode  in  the 
legend  of  St.  Philip,  is  not  art-criticism,  but  it  is  often  an  almost 
indispensable  prelude  to  the  formation  of  a  right  and  sour  d 
judgment.  W«  must  know  what  the  artist  was  trying  to  repre- 
sent before  we  oan  feel  sure  what  measure  of  success  he  has 
attained  in  his  representation. 

For  the  gem  ral  study  of  Christian  art,  alike  in  architecture, 
sculpture,  ami  pai.itin.';,  no  treatises  are  more  useful  for  the 
tourist  to  carry  with  nim  for  constant  reference  than  Mrs. 
Jameson's  Sacred  and  Legendary  Art,  am.  Legends  of  the 
Madonna  (London,  Longmans).  For  works  of  Italian  art,  both 
in  Italy  and  elsewhere,  Kugler's  Italian  Schools  of  Painting  is 
an  invaluable  vade-mecum.  These  books  should  be  carried 
about  by  everybody  everywhere.  Other  works  of  special  and 
local  importance  will  occasionally  be  noticed  under  each  par- 
ticular city,  church,  or  museum. 

I  cannot  venture  to  hope  that  handbooks  containing  such 
a  mass  of  facts  as  these  will  be  wholly  free  from  errors  and 
misstatements,  above  all  in  early  editions.  I  can  only  beg 
those  who  may  detect  any  such  to  point  them  out,  without 
unnecessary  harshness,  to  the  author,  care  of  the  publisher, 
and  if  possible  to  assign  reasons  for  any  dissentient  opinion. 


J.' 


t% 


•;i.^ 


■i  ! 


I  N'T] 

Ork 
I 


II 


III 


iV 


V 

VI 

VII 


A.  ,- 


?^g;y5,^. 


*r» 


ny 


CONTENTS 

In'troduction 

How  TO  Use  these  Guidb-Books        .       , 

Origins  of  Paris 

I    The  hi  de  la  CiTi    .... 

A.  The  Palais  de  Justice  and  the  Sainte  Chapelle 

B.  Notre-Dame 

Map  of  Historic  Paris  .... 

H    The  Left  of  South  Bank  . 

A.  The  Roman  Palace  and  the  Af  us^e  de  CI 

B.  TheHillofSte.Geneviive     . 

ni    Renaissance  Paris  (The  Loovre) 

A.  The  Fabric 

B.  The  Collections      .... 

I.   Paintings       .... 
II.    Sculpture       .... 

1.  Antique  .Sculpture   . 

2.  Renaissance  Sculpture     . 

3.  Modem  Sculpture   . 
HI.    The  Smaller  Collections. 

iV    The  North  Bank  (Rive  Droite) 

A.  The  Core  of  the  Right  Bank  . 

B.  The  Outer  Ring  of  Louis  XIV. 
V    The  Faubourg  St.  Germain 

VI    St.  Denis 

VII    The  Outer  Ring,  Etc. 


PAOB 

3 

10 
II 

16 

17 
22 

33 

34 
35 
55 
62 
64 
71 
72 

'S3 
'54 
168 
187 
189 

'97 
198 
208 

213 

230 
246 


■\  1 


f 


HOW   TO   USE   THESE   GUIDE- 
BOOKS 

rHE  portions  of  this  book  intended  to  be  read  at 
leisure  at  home,  be/ore  proceeding  to  explore  each 
tojvn  or  monument,  are  enclosed  in  brackets  \thus\ 
The  portion  relating  to  each  principal  object  should 
be  quietly  read  and  digested  before  a  visit,  and  re- 
ferred to  again  aftenvards.  Tlie  portion  to  be  read  on 
tlie  spot  is  made  as  brief  as  possible,  and  is  printed  in 
large  legible  type,  so  as  to  be  easily  read  in  the  dim  light  of 
churches,  chapels,  and  galleries.  TV/f  l<ey-note  words  «r<r 
printed  in  bold  type,  to  catch  the  eye.  Where  objects  are 
numbered,  the  numbers  used  are  always  those  of  the  latest 
official  catalogues, 

Baedeker's  Guides  are  so  printed  that  each  principal  por- 
tion can  be  detached  entire  from  the  volume.  The  traveller 
who  uses  Baedeker  is  advised  to  carry  in  his  pocket  one 
such  portion,  referring  to  the  place  he  is  then  visiting,  to- 
gether with  the  plan  of  ifie  town,  while  carrying  this  book 
in  his  hand.  These  Guides  do  not  profess  to  supply  prac- 
tical information. 

Individual  works  of  merit  are  distinguished  by  an  aster- 
isk (*)/  those  of  very  exceptional  interest  and  merit  have 
two  asterisks.  Nothing  is  tioticed  in  this  book  which  does 
not  seem  to  the  writer  worthy  of  attention. 

See  little  at  a  time,  and  see  it  thoroughly.  Never  attempt 
to  *^do"  any  place  or  any  monument.  By  following  strictly 
the  order  in  which  objects  are  noticed  in  this  book,  you  will 
gain  a  conception  of  the  historical  evolution  of  the  town 
'tohich  you  cannot  obtain  if  you  go  about  looking  at  churches 
and  palaces  hap-hazard.  The  order  is  arranged,  not  quite 
chronologically,  but  on  a  definite  plan,  Ji'hich  greatly  facili- 
tates comprehension  of  the  subject. 


«« 


York, 
tion  I 
being 
stand: 
Seine 
head 
times, 
media 
ports 
than  ( 
islets 
Then 
to  its 
media 
which 
kingdi 
Frank 
town, 
its  coi 
its  offi 
upon  I 
say,  a! 
truer  t 
under 
The 
aggrej 
tribe. 
of  con 
the  Se 


"SJMW-'J!!  -V-ssSsi: 


'-V' 


IDE- 


ie  read  at 
explore  each 
xkets  [thus], 
|ect  should 
f/,  and  re- 
be  read  on 

printed  in 
dim  light  of 

words  are 
■e  objects  are 
f  the  latest 

Hncipal  por- 
Vhe  traveller 
•  pocket  one 
visiting,  to- 
ng  this  book 
supply  prac- 

by  an  aster- 
merit  have 
i  jvhich  does 

sver  attempt 
wing  strictly 
}ok,  you  will 
of  the  town 
f  at  churches 
'.d,  not  quite 
really  facili- 


ORIGINS    OF   PARIS 

PARIS  is  not,  like  Rome,  London,  Lyons,  an  inevitable 
city.  It  does  not  owe  its  distinctive  place,  like  New 
York,  Chicago,  San  Francisco,  Melbourne,  to  natural  posi- 
tion alone.  Rather  does  it  resemble  Madrid  or  Berlin  in 
being  in  great  part  of  artificial  administrative  origin.  It 
stands,  no  doubt,  upon  an  important  navigable  river,  the 
Seine ;  but  its  position  upon  that  river,  though  near  the 
head  of  navigation,  when  judged  by  the  standard  of  early 
times,  is  not  exactly  necessary  or  commanding.  Rouen  in 
mediaeval  days,  Havre  at  the  present  moment,  are  the  real 
ports  of  the  Seine.  The  site  of  Paris  is  in  itself  nothing  more 
than  one  among  the  many  little  groups  of  willow-clad  alluvial 
islets  which  are  frequent  along  the  upper  reaches  of  the  river. 
The  modern  city  owes  its  special  development  as  a  town,  first 
to  its  Roman  conquerors,  then  to  its  bridges,  next  to  its 
mediaeval  counts,  last  of  all  to  the  series  of  special  accidents  by 
which  those  counts  developed  at  last  into  kings  of  the  nascent 
kingdom  of  France,  and  inheritors  of  the  traditions  of  th^ 
Prankish  sovereigns.  It  is  thus  in  large  part  a  royal  residential 
town,  depending  mainly  for  prosperity  upon  its  kings,  its  nobles, 
its  courts  of  justice,  its  parliaments,  its  university,  its  clergy,  and 
its  oflficial  classes  ;  comparatively  little,  till  iquite  recent  times, 
upon  the  energy  and  industry  of  its  individual  citizens.  We 
say,  as  a  rule,  that  Paris  is  the  capital  of  France  ;  it  would  be 
truer  to  say  that  France  is  the  country  which  has  grouped  itself 
under  the  rulers  of  Paris. 

The  name  itself  points  back  to  the  antiquity  ot  some  human 
aggregation  upon  this  particular  spot.  It  is  tlie  name  of  a 
tribe,  not  that  of  their  capital.  The  Parisii  were  a  Celtic  people 
of  comparatively  small  importance,  who  occupied  the  banks  of 
the  Seine  at  the  period  of  the  Roman  conquest.    Their  town  or 


H 


\J} 


12 


PARIS 


stronghold,  Lutetia,  called  distinctively  Lutetia  Parisiorum 
(Lutetia  of  the  Parisii),  was  situated,  says  Caesar,  "  in  an  island 
of  the  river  Sequana" — the  same  which  is  now  called  the  tie  de 
la  Cit^.  Two  adjacent  islands  of  the  same  alluvial  type  have 
long  since  coalesced  to  form  the  tie  St.  Louis ;  a  fourth,  the  tie 
Louviers,  is  at  present  enclosed  in  the  mainland  of  the  northern 
bank  by  the  modern  quays. 

This  stockaded  Island  village  of  the  Parisii  was  conquered 
by  ;he  Romans  in  B.c.  53.  Under  Roman  rule,  it  remained  at 
first  an  unimportant  place,  the  really  large  towns  of  Gaul  at 
that  time  being  Aries,  Nimes,  Marseilles,  Bordean.x,  and  Lyons. 
In  the  north,  Treviri  was  the  chief  Roman  settlement.  Towards 
the  end  of  the  Roman  period,  however,  Paris  seems  to  have 
increased  in  importance,  and  overflowed  a  little  from  the  island 
to  the  south  bank.  The  town  owed  its  rapid  rise,  no  doubt,  to 
the  two  Roman  bridges  which  here  crossed  the  two  branches 
of  the  Seine,  probably  on  the  same  sites  as  the  modem  Petit- 
Pont  and  Pont  Notre-Dame.  The  river  formed  its  highway. 
Constantius  Chlorus,  who  lived  in  Gaul  from  a.d.  292  to  306,  is 
supposed  to  have  built  in  the  faubourg  on  the  south  side  the 
palace  of  the  Thermes,  which  now  forms  a  part  of  the  Museum 
of  Cluny.  Julian  certainly  inhabited  that  palace  in  360.  The 
town  was  known  as  Lutetia  almost  as  long  as  the  Roman  power 
lasted  ;  but  after  the  Frankish  invasion  (and  even  in  late  Roman 
times),  the  name  of  the  tribe  superseded  that  of  the  ancient 
fortress  :  Lutetia  became  known  as  Paris,  the  stronghold  of 
the  Parisii,  just  in  the  same  way  as  the  Turones  gave  their 
name  to  Tours,  the  Ambiani  to  Amiens,  and  the  Senones  to 
.Sens. 

After  the  occupation  of  Gaul  by  Clovis  (Hlodwig),  Paris  sank 
for  a  time  to  the  position  of  a  mere  provincial  town.  The 
Merwing  (or  Merovingian)  kings,  the  successors  of  Clovis, 
resided  as  a  rule  at  Orleans  or  Soissons.  The  Frankish  em- 
perors and  kings  of  the  line  of  Charlemagne,  again  (the  Karlings 
or  Carlovingians),  held  their  court  for  the  most  part  at  Aix-la- 
Chapelle.  The  town  by  the  Seine  was  so  completely  neglected 
under  later  sovereigns  of  the  Karling  line  (who  were  practically 
Germans),  that  during  the  invasions  of  the  Northmen  from  841 
to  885  it  was  left  entirely  to  its  own  resources.    But  its  count. 


Eudc 
he  b< 
augu 
Emp 
mon: 
a  str 
grow 
Teut 
rock; 
thei 
tion. 

As 
mam 
capit 
fully 
ever, 
admi 
thele 
dout 
by  it 
fulls 
crest 

.So 
will  \ 
medi 
on  ir 
desc 
ofol 
the< 
be  p 
facts 
saini 
thei 
thcl 
St. 

u 

prea 
man 
list 


"*B>fl 


ORIGINS  OF  PARIS 


13 


Parisiorum 
'  in  an  island 
ed  the  tie  de 
al  type  have 
Durth,  the  tie 
'the  northern 

IS  conquered 
remained  at 
>  of  Gaul  at 
K,  and  Lyons. 
It.  Towards 
ems  to  have 
>m  the  island 
no  doubt,  to 
wo  branches 
lodem  Petit- 
its  highway. 
292  to  306,  is 
»uth  side  the 
the  Museum 
in  360.  The 
loman  power 
n  late  Roman 
f  the  ancient 
itronghold  of 
IS  gave  their 
'.  Senones  to 

:),  Paris  sank 
town.  The 
:s  of  Clovis, 
''rankish  em- 
(the  Karlings 
irt  at  Aix-la- 
ely  neglected 
re  practically 
len  from  841 
ut  its  count, 


Eudes,  defended  it  so  bravely  from  the  northern  pirates,  that 
he  became  the  real  founder  of  the  French  State,  the  first  in- 
HUgurator  of  France  as  a  separate  country,  distinct  from  the 
Empire.  His  provincial  city  grew  into  the  kernel  of  a  mediaeval 
monarchy.  From  his  time  on,  Paris  emerges  as  the  capital  of 
a  struggling  kingdom,  small  in  extent  at  first,  but  gradually 
growing  till  it  attained  the  size  which  it  now  possesses.  The 
Teutonic  King  of  the  Franks  was  reduced  for  a  time  to  the 
i-ocky  fortress  of  Laon  ;  the  Count  of  Pari*  became  Duke  of 
the  French,  and  then  King  of  France  in  the  modern  accepta- 
tion. 

As  the  kingdom  grew  (absorbing  by  degrees  Flanders,  Nor- 
mandy, Aquitaine,  iProvence,  Champagne,  and  Burgundy),  the 
capital  grew  with  it ;  its  limits  at  various  times  will  be  more 
fully  described  in  succeeding  pages.  From  first  to  last,  how- 
ever, Paris  preserved  its  character  as  rather  the  official  and 
administrative  centre  than  the  commercial  emporium.  Never- 
theless, even  under  the  Romans,  its  symbol  was  a  ship.  Its 
double  debt  to  the  river  and  the  monarchy  is  well  symbolised 
by  its  mediaeval  coat  of  arms,  which  consists  of  a  vessel  under 
full  sail,  surmounted  by  Xhcfleur  de  lis  of  the  French  kings,  and 
crested  above  by  a  mural  crown. 

So  few  remnants  of  Roman  Pari*  exist  at  our  day,  that  we 
will  begin  our  survey  with  the  fie  de  la  Clti,  the  nucleus  of  the 
mediaeval  town,  leaving  the  scanty  earlier  relics  to  be  noted  later 
on  in  their  proper  places.  But  before  we  pro«  eed  to  this  detailed 
description,  two  other  facts  of  prime  importance  in  the  history 
of  old  Paris  must  be  briefly  mentioned,  because  without  them 
the  character  of  the  most  ancient  buildings  in  the  city  cannot 
be  properly  understood.  These  two  facts—  even  if  mythical,  yet 
facts  none  the  less— are  the  histories  of  the  two  great  patron 
saints  of  the  early  burghers.  It  is  not  too  much  to  say  that  to 
the  mediaeval  Parisian,  Paris  appeared  far  less  as  the  home  of 
the  kings  or  the  capital  of  the  kingdom  than  as  the  shrine  of 
St.  Denis  and  the  city  of  Ste.  Qeneviive. 

Universal  tradition  relates  that  St.  Denis  was  the  first 
preacher  of  Christianity  in  Paris.  He  is  said  to  have  suffered 
martyrdom  there  in  the  year  270.  As  the  apostle  and  evange- 
list of  the  town,  he  was  deeply  venerated  from  the  earliest 


I 


K 


iMttUi 


fl 


M 


PARIS 


t 


times  ;  but  later  legend  immensely  increased  his  vogue  and 
his  sanctity.  On  the  one  hand,  he  was  identified  with  Dionysius 
the  Areopagite  ;  on  the  other  hand,  he  was  said  to  have  walked 
after  his  decapitation,  bearing  his  head  in  his  hand,  from  his 
place  of  martyrdom  on  the  hill  of  Montmartre  (Mons  Martyrum), 
near  the  site  from  which  the  brand-new  churcl.  of  the  Sacrd 
Cceur  now  overlooks  the  vastly  greater  modern  city,  to  a  spot  two 
miles  away,  where  a  pious  lady  buried  him.  On  this  spot,  a 
chapel  is  said  to  have  been  erected  as  early  as  a.d.  275,  within 
five  years  of  his  martyrdom  ;  later,  Ste.  Genevieve,  assisted  by 
the  people  of  Paris,  raised  a  church  over  his  remains  on  the 
same  site.  In  the  reign  of  King  Dagobert,  the  sacred  body  was 
removed  to  the  Abbey  of  St.  Denis  (see  later),  which  became 
the  last  resting-place  of  the  kings  of  France.  It  is  probable 
that  the  legend  of  the  saint  having  carried  his  head  from  Mont- 
martre arose  from  a  misunderstanding  of  images  of  the  decapi- 
tated bishop,  bearing  his  severed  head  in  his  hands  as  a  symbol 
of  the  mode  of  his  martyrdom  ;  but  the  tale  was  universally 
accepted  as  trre  in  mediaeval  days,  and  is  still  so  accepted  by 
devout  Parisians.  Images  of  St.  Denis,  in  episcopal  robes, 
carrying  his  mitred  head  in  hie  hands,  may  be  looked  for  on  all 
the  ancient  buildings  of  the  city.  St.  Denis  thus  represents  the 
earliest  patron  saint  of  Paris — the  saint  of  the  primlvive  Church 
and  of  the  period  of  persecution. 

The  second  patron  saint  of  the  city — the  saint  of  the  Frankish 
conquest — is  locally  and  artistically  even  more  important.  Like 
Jeanne  d'Arc,  she  touches  the  strong  French  sentiment  of 
patriotism.  Ste.  Qenevi^vei  a  peasant  girl  of  Nanterre  (on  the 
outskirts  of  Paris),  was  born  in  431,  during  the  stormy  times  of 
the  barbarian  irruptions.  When  she  was  seven  years  old,  St. 
Germain,  of  Auxerre  (of  whom  more  will  be  said  under  the 
church  of  St.  Germain  I'Auxerrois),  on  his  way  to  Britain,  saw 
la  pucellette  Genevieve,  and  became  aware,  by  divine  premoni- 
tion, of  her  predestined  glory.  When  she  had  grown  to  woman's 
estate,  and  was  a  shepherdess  at  Nanterre,  a  barbarian  leader 
(identified  in  the  legend  with  Attila,  King  of  the  Huns) 
threatened  to  lay  siege  to  the  little  city.  But  Genevieve,  warned 
of  God,  addressed  the  people,  begging  them  not  to  leave  theii 
homes,  and  assuring  them  of  the  miraculous  protection  of 


heave 

any  ol 

Paris. 

city, 

Then 

up  St 

frequ< 

vision 

carrie 

instru 

when 

by  th( 

willb 

IheS 

may  I 

of  a  d 

extin{ 

Chris 

Fran! 

Ro 
of  eai 
simpl 
large! 
shrin 

Ha 
comr 
readc 
here 
allusi 
orgai 
Lou^ 
they 
the 
Qall 


ORIGINS   OF  PARIS 


16 


lis  vogue  and 
vith  Di&nysius 
}  have  walked 
land,  from  his 
ns  Martyrum), 
of  the  Sacrd 
f,  to  a  spot  two 
n  this  spot,  a 
D.  275,  within 
e,  assisted  by 
mains  on  the 
cred  body  was 
ivhich  became 
[t  is  probable 
id  from  Mont- 
ofthe  decapi- 
is  as  a  symbol 
as  universally 
)  accepted  by 
iscopal  robes, 
>ked  for  on  all 
represents  the 
mivive  Church 

f  theFrankish 
)ortant.  Like 
sentiment  of 
mterre  (on  the 
)rmy  times  of 
years  old,  St. 
lid  under  the 
>  Britain,  saw 
nne  premoni- 
vn  to  woman's 
barian  leader 
f  the  Huns) 
ivifeve,  warned 
to  leave  theii 
protection  of 


heaven.  And  indeed,  as  it  turned  out,  the  barbarians,  without 
any  obvious  reason,  changed  their  line  of  march,  and  avoided 
Paris.  Again,  when  Childeric,  the  father  of  Clovis,  invested  the 
city,  the  people  suffered  greatly  from  sickness  and  famine. 
Then  Genevieve  took  command  of  the  boats  which  were  sent 
up  stream  to  Troyes  for  succour,  stilled  by  her  prayers  the 
frequent  tempests,  and  brought  the  ships  back  laden  with  pro- 
visions. After  the  Franks  had  captured  Paris,  Sle.  Geneviiive 
carried  on  Roman  traditions  into  the  Frankish  court ;  she  was 
instrumental  in  converting  Clovis  and  his  wife  Clotilde ;  and 
when  she  died,  at  eighty-nine,  a  natural  death,  she  was  buried 
by  the  side  of  her  illustrious  disciples.  The  history  of  her  body 
will  be  given  at  length  when  we  come  to  examine  her  church  on 
the  South  Side,  commonly  called  the  Panthdon  ;  but  her  image 
may  frequently  be  recognised  on  early  buildings  by  the  figure 
of  a  devil  at  her  side,  endeavouring  in  vain  (as  was  his  wont)  to 
extinguish  her  lighted  taper— the  taper,  no  doubt,  of  Roman 
Christianity,  -vhich  she  did  not  allow  to  be  quenched  by  the 
Frankish  invaders. 

Round  these  Iwo  sacred  personages  the  whole  art  and  history 
of  early  Paris  continually  cluster.  The  beautiful  figure  of  the 
simple  peasant  enthusiast,  Ste.  Genevi6ve,  in  particular,  has 
largely  coloured  Parisian  ideas  and  Parisian  s/mpathies.  Her 
shrine  still  attracts  countless  thousands  of  the  faithful. 

Having  premised  these  facts,  we  are  now  in  a  position  to 
commence  our  survey  of  the  city.  I  strongly  recommend  the 
reader  to  visit  the  various  objects  of  interest  in  the  exact  order 
here  prescribed.  Otherwise,  he  will  not  understand  the  various 
allusions  to  points  already  elucidated.  But  no  necessary 
organic  connection  exists  between  the  collections  of  the 
Louvre  and  the  town  in  which  they  are  housed.  Therefore, 
they  may  be  visited  off  and  on  at  any  time  (see  Introduction  to 
the  Collections  in  Part  HI).  Utilize  rainy  days  In  the 
Qalleries  of  the  Louvre. 


JmaiL- 


«•] 


I 

THE  IlE  DE  la  CITfi 

rnpHE  lie  de  la  Cit^,  the  oldest  Paris,  consisted  in  the 
L  X  Middle  Ages  of  a  labyrinth  of  narrow  and  tortuous 
lanes,  now  entirely  replaced  by  large  and  stately  modern 
official  buildings.  In  Roman  and  Frankish  times,  it  com- 
prised the  whole  of  the  town,  save  a  small  suburb  extend- 
ing as  far  as  the  present  Museum  of  Cluny,  on  the  South 
Side.  Among  its  sunless  alleys,  however,  in  later  medi- 
aeval days,  numerous  churches  raised  their  heads,  of  which 
Notre-Dame  and  the  Sainte  Chapelle  alone  now  remain  ; 
while  others,  dedicated  to  the  oldest  local  saints,  such  as  Ste 
Genevi^ve-des-Ardents,  St.  iSloy,  and  St.  Germain-le-Vieux,  have 
been  entirely  destroyed.  The  west  extremity  of  the  island  was 
formerly  occupied  by  the  old  Royal  Palace,  parts  of  which 
still  survive,  included  in  the  buildings  of  the  modern  Palais  de 
Justice.  On  the  east  end  stood  the  cathedral  of  Notre-Dame, 
with  the  episcopal  palace  in  its  rear ;  while,  close  by,  rose  the 
earliest  hospital  in  Europe,  the  H6tel-Dieu,  said  to  have  been 
originally  founded  by  Clovis,  and  now  represented  by  a  vastly 
larger  modern  building  on  a  different  site.  As  the  burgesses 
began  to  shift  their  homes  to  the  quarters  north  of  the  Seine,  in 
the  twelfth  and  thirteenth  centuries,  the  Cit^  was  gradually 
given  over  to  the  clergy.  The  kings  also  removed  from  the 
Palace  of  the  Capets  to  their  new  residences  on  the  North  Bank 
(Bastille,  H6tel  Saint-Paul,  old  castle  of  the  Louvre),  and  gave 
up  their  island  mansion  to  the  Parlement  or  Supreme  Court, 
since  which  time  it  has  been  commonly  known  as  the  Palais 
de  Justice,  and  extensively  m  jdernised.  At  the  present  day, 
the  Cite  has  become  the  head-quarters  of  Law,  Police,  and 
Religion,  and  is  almost  entirely  occupied  by  huge  official  struc- 
tures, which  cover  enormous  areas,  and  largely  conceal  its 


M 


THE  IlE  DE  la   CITt 


«7 


nsisted  in  the 
and  tortuous 
lately  modern 
times,  it  com- 
uburb  extend- 
on  the  South 
n  later  medi- 
:ads,  of  which 
now  remain  ; 
i,  such  as  Ste 
-le-Vieux,  have 
the  island  was 
)arts  of  which 
lern  Palais  de 
'.  Notre-Dame, 
se  by,  rose  the 
i  to  have  been 
ed  by  a  vastly 
the  burgesses 
)f  the  Seine,  in 
was  gradually 
oved  from  the 
^e  North  Bank 
ivre),  and  gave 
upreme  Court, 
as  the  Palais 
[e  present  day, 
IV,  Police,  and 
e  official  struc- 
ly  conceal  its 


primitive  character.    It  still  contains,  however,  the  most  pre- 
cious mediaeval  monuments  of  Paris. 

At  least  two  day*  should  be  devoted  to  the  lie  de  la  Cit«5; 
one  to  the  Palace  and  the  Sainte  Chapelle,  another  to  the 
Cathedral.    Do  not  attempt  to  see  them  both  together.] 

*.  THE  PALAIS  DE  JUSTICE  AnD  THE 
SAINTE  CHAPELLE 
Go  along  the  Rucde  Rivoli  as  far  as  the  Square  of  the  Tour 
St.  Jacques.  If  driving,  alight  here.  Turn  down  the  Place  du 
Chatelet  to  your  right.  In  front  is  the  pretty  modem  fountam 
of  the  Chatelet :  right,  the  Theatre  du  Chfttelet ;  left,  the  Op^ra 
Comique.  The  bridge  which  faces  you  is  the  Pont-au-Change, 
so-called  from  the  money-changers'  and  jewellers'  booths  which 
once  flanked  its  wooden  predecessor  (the  oldest  in  Paris),  as 
they  still  do  the  Rialto  at  Venice,  and  the  Ponte  Vecchio  at 
Florence. 

Stand  by  the  right-hand  comer  of  the  bridge  before 
crossing  it.  In  front  is  the  lie  de  la  Cit(J.  The  square,  dome- 
crowned  building  opposite  you  to  the  left  is  the  modem  Tribu- 
nal de  Commerce  ;  beyond  it  leftward  lie  the  March^-aux-Fleurs 
and  the  long  line  of  the  H6tel-Dieu,  above  which  rise  the 
towers  and  spire  of  Notre-Dame.  In  front,  to  the  right,  the 
vast  block  of  buildings  broken  by  towers  forms  part  of  the 
Palais  de  Justice,  the  ancient  Palace  of  the  French  kings, 
begun  by  Hugues  Capet.  The  square  tower  to  the  left  in  this 
block  is  the  Tour  de  I'Horloge.  Next,  to  the  right,  come  the 
two  round  towers  of  the  Conciergerie,  known  respectively  as 
the  Tour  de  C^sar  and  the  Tour  de  Montgomery.  The  one 
beyond  them,  with  battlements,  is  the  Tour  d'Argent.  It  was 
in  the  Conciergerie  that  Marie  Antoinette,  Robespierre,  and 
many  other  victims  of  the  Revolution  were  imprisoned. 

These  mediaeval  towers,  much  altered  and  modernized,  are 
now  almost  all  that  remains  of  the  old  Palace,  which,  till  after 
the  reign  of  Louis  IX  (St.  Louis),  formed  the  residence  of  the 
Kings  of  France.  Charles  VII  gave  it  in  1431  to  the  Parle- 
ment  or  Supreme  Court.  Ruined  by  fires  and  rebuilding,  it 
now  consists  for  the  most  part  of  masses  of  irregular  recent 

M 


I) 


m- 


i8 


PARIS 


['. 


V  ±a 


edifices.     The   main  modern    faqads    fronts    the  Boulevanl 
du  Palais. 

Cross  the  bridge.  The  Tour  de  I'Horloge  on  youi  right,  at 
the  corner  of  the  Boulevard  du  Palais,  contains  tJie  oldest 
public  clock  in  France  (1370),  The  figures  of  Justice  and  Piety 
by  its  side  were  originally  designed  by  Germain  Pi'.on,  but  are 
now  replaced  by  copies.  Walk  round  the  Palais  by  the  quay 
along  the  north  branch  of  the  Seine  till  you  come  to  the  Rue  de 
Harlay.  Turn  there  to  your  left,  towards  the  handsome  and 
imposing  modern  facade  of  this  side  of  the  Palais  de  Justice. 
The  interior  is  unworthy  a  visit.  The  Ruede  Harlay  forms  the 
westernmost  end  of  the  original  lie  de  la  Citd  The  prow- 
shaped  extremity  of  the  modern  island  has  been  artificially 
produced  by  embanking  the  sites  of  two  or  three  minor  islets. 
The  Place  Dauphine,  which  occupies  the  greater  part  of  this 
modern  extension,  was  built  in  1608  ;  it  still  affords  a  character- 
istic example  of  the  domestic  Paris  of  the  period  before  Baron 
Haussmann.  Continue  along  the  quay  as  far  as  the  Pont-Neuf, 
so  as  to  gain  an  idea  of  the  extent  of  the  tie  de  la  Cit^  in  this 
direction.  The  centre  of  the  Pont-Neuf  is  occupied  by  an 
equestrian  statue  of  Henri  IV,  first  of  the  Bourbon  kings.  Its 
predecessor  was  erected  in  1635,  and  was  destroyed  to  make 
cannon  during  the  great  Revolution.  Louis  XVIII  re-erected 
it.  From  this  point  you  can  gain  a  clear  idea  of  the  two 
branches  of  the  Seine  as  they  unite  at  the  lower  end  of  the  tie 
de  la  C\i6.  To  your  right,  looking  westward,  you  also  obtain  a 
fine  view  of  the  Colonnade  of  the  Old  Louvre,  with  the  south- 
western gallery,  and  the  more  modern  buildings  of  the  Museum 
behind  it.    (See  later.) 

Now,  walk  along  the  southern  quay  of  the  island,  round  the 
remainder  nf  the  Palais  de  Justice,  ai  far  as  the  Boulevard  du 
Palais.  There  turn  to  your  left,  and  go  in  at  the  first  door  of 
the  Palace  on  the  left  (undeterred  by  sentries)  into  the  court  of 
the  Sainte  Chapelle,  the  only  important  relic  now  remaining 
of  the  home  of  Saint  Louis.  Yom  may  safely  neglect  the 
remainder  of  the  building. 

[The  thirteenth  century  (age  of  the  Crusades)  was  a  period  of 
profound  religious  enthusiasm  throughout  Europe.    Conspicu* 


ie  Boulevard 

yout  right,  nt 
IS  ttie  oldest 
tier  and  Fiety 
Pi'.on,  but  are 
s  by  the  quay 
to  the  Rue  de 
andsome  and 
lis  de  Justice, 
rlay  forms  the 
i.  The  prow- 
len  artificially 
e  minor  islets. 
:r  part  of  this 
Is  a  character- 
before  Baron 
he  Pont-Neuf, 
la  Cit^  in  this 
cupied  by  an 
on  kings.  Its 
oyed  to  make 
III  re-erected 
;a  of  the  two 
end  of  the  tie 
I  also  obtain  a 
vith  the  south- 
»f  the  Museum 

ind,  round  the 
Boulevard  du 
le  first  door  of 
to  the  court  of 
10-JV  remaining 
y  neglect  the 


vas  a  period  of 
>e.    Conspicu* 


>} 


THE  tLE  DE  LA   Clli 

ous  among  its  devout   soldiers   was    Louis    IX,   aftc.wards 
canonized  as  St.   Loul*.    The  saintly  king  ,,urcha;;ed  from 
Baldwin,  Emperor  of  Constantinople,  the  veritable  Crown  of 
Thorns,  and  a  fragment  of  the  True  Cro»»-paying  for  these 
relics  an  immense  sum  of  money.    Having  become  possessed 
of  such  invaluable  and  sacred  objects,  Louis  desired  to  have 
them  housed  with  suitable  magnificence.      He  therefore  en- 
trusted one  Pierre  de  Montereau  with  the  task  of  building  a 
splendid  chapel  (within  the  precincts  of  his  palace),  begun  in 
IJ45,  and  finished  three  years  later,  immediately  after  which 
the  king  set  out  on  his  Crusade.    The  monument  thus  breathes 
throughout  the  ecstatic  piety  of  the  mystic  king  ;  it  was  conse- 
crated in  1248,  in  the  name  of  the  Holy  Crown  and  the  Holy 
Cross,  by  Eude»  de  Chateauroux,  Bishop  of  Tusculum  and 

papal  legate.  „^      » 

Three  things  should  be  noted  about  the  Sainte  Chapelle. 
(i)  It  is  a  chapel,  not  a  church  ;  therefore  it  consists  (practi- 
cally) of  a  choir  alone,  without  nave  or  transepts.  (2)  It  is  the 
domestic  Chapel  of  the  Roysl  Palace.  (3)  His,  above  all 
things,  the  Shrine  of  the  Crown  of  Thorns.  These  three 
points  must  be  constantly  borne  in  mind  in  examining  the 

building.  .  .  ^   . 

Erected  later  than  Notre-Dame,  it  represents  the  pointed 
style  of  the  middle  of  the  thirteenth  century,  and  is  singularly 
pure  and  uniform  throughout.  Secularized  at  the  Revolution, 
it  fell  somewhat  into  decay ;  but  was  j.  'VJously  restored  by 
Viollet-le-Duc  and  others.  The  "  Messe  kouge,"  or  "  Messe  du 
St.  Esprit,"  is  still  celebrated  here  once  yearly,  on  the  re-open- 
ing  of  the  courts  after  the  autumn  vacation,  but  no  other 
religious  services  take  place  in  the  building.  The  Crown  of 
Thorns  and  the  piece  of  the  True  Cross  are  now  preserved 
in  the  Treasury  at  Notre  Dame. 

Open  daily,  free,  except  Mondays,  11  to  4  or  5.  Choose 
a  very  bright  day  to  visit  it.] 

Examine  the  exterior  in  detail  from  the  court  on  the  south 
side.  More  even  than  most  Gothic  buildings,  the  Sainte 
Chapelle  is  supported  entirely  by  its  massive  piers,  the  wall 
being  merely  used  for  enclosure,  and  consisting  for  the  most 


ao 


I'AUtS 


part  of  lofty  windows.  Ai  in  most  French  Gothic  buildin((s, 
the  choir  terminates  in  a  round  apse,  whereas  Enijlish  cathe- 
drals have  usually  a  square  end.  The  beautiful  light  flAch* 
or  spire  in  the  centre  has  been  restored.  Observe  the  graceful 
leaden  angel,  holding  a  cioss,  on  the  summit  of  the  cktvtl  or 
round  apse.  To  see  the  facade,  stand  well  back  opposite  it, 
when  you  can  observe  that  the  chapel  is  built  in  four  main 
•torics,~those,  namely,  of  the  Lower  Church  or  crypt,  of  the 
Upper  Church,  of  the  great  rose  window  (with  later  flamboyant 
fracery),  and  of  the  gable-end,  partially  masked  by  an  open 
parapet  studded  with  the  royal  fleurs-de-lis  of  France.  The 
Crown  of  Thorns  surrounds  the  two  pinnacles  which  flank  the 
fourth  story. 

The  chapel  consists  of  a  lower  and  an  upper  church.  The 
Low«r  Church  is  a  mere  crypt,  which  was  employed  for  the 
servants  of  the  royal  family.  Its  portal  has  in  its  tympanum  (or 
triangular  space  in  the  summit  of  the  arch)  the  Coronation  of 
the  Virgin,  and  on  its  centre  pillar  a  good  figure  of  the  Madonna 
and  Child.  Enter  the  Lower  Church.  It  is  low,  and  has  pillars 
supporting  the  floor  above.  In  the  polychromatic  decoration  of 
the  walls  and  pillars,  notice  the  frequent  repetition  of  the  royal 
lilies  of  France,  combined  with  the  three  castles  of  Castille,  in 
honour  of  lilanche  of  Castille,  the  mother  of  St.  Louis. 

Mount  to  **the  Upper  Chapel  (or  Sainte  Chapelle  proper)  by 
the  small  spiral  staircase  in  the  comer.  This  soaring  pile  was 
the  oratory  where  the  royal  family  and  court  attended  service  ; 
its  gorgeousness  bespeaks  its  origin  and  nature.  It  glows  like  a 
jewel.  First  go  out  of  the  door  and  examine  the  exterior  and 
doorway  of  the  chapel.  Its  platform  was  directly  app/oached 
in  early  times  from  the  Palace.  The  centre  pillar  bears  a 
fine  figure  of  Christ  In  the  tympanum  (as  over  the  principal 
doorway  of  almost  every  important  church  in  Paris  and  the 
district)  is  a  relief  of  the  Last  Judgment.  Below  stands  St. 
Michael  with  his  scales,  weighing  the  souls  ;  on  either  side 
is  depicted  the  Resurrection,  with  the  Angels  of  the  Last  Trump. 
Above,  in  the  second  tier,  is  Christ,  holding  up  His  hands  with 
the  marks  of  the  nails,  as  a  sign  of  mercy  to  the  redeemed  :  to 
R  and  L  of  Him  angels  display  the  Crown  of  Thorns  and  the 
True  Cross,  to  contain  which  sacred  relics  the  chapel  was  built. 


:a^ 


THE  tLE  PE  LA   CITA 

Kxtreme  L  kneels  the  BleMed  Virgin;  extreme  R,  Sainte 
Genevi6vc.  This  scene  of  the  Last  Judgment  was  adapted  with 
a  few  alterations  from  that  above  the  central  west  door  of  Notre- 
Dame,  the  Crown  of  Thorns  in  particular  being  here  signifi- 
cantly substituted  for  the  three  nails  and  spear.  The  small 
loienge  reliefs  to  R  and  L  of  the  portal  are  also  interesting. 
Those  to  the  l.  represent  in  a  very  naive  manner  God  the 
Father  creating  the  world,  sun  and  moon,  light,  plants,  animals, 
man,  etc.  Those  to  the  R  give  the  story  of  Genesis,  Cain  and 
Abel,  the  Flood,  the  Ark,  Noah's  Sacrifice,  Noah's  Vine,  etc. 
the  subjects  of  all  which  the  visitor  can  easily  recognise,  and  is 
strongly  recommended  to  identify  for  himself. 

The  Interior  consists  almost  entirely  of  large  and  lofty  win- 
dows, with  magnificent  stained  glass,  in  large  part  ancient.  The 
piers  which  divide  the  windows  and  alone  supiwrt  the  graceful 
vault  of  the  roof,  are  provided  with  statues  of  the  twelve 
apostles,  a  few  of  them  original.  Each  bears  his  well-known 
symbol.  Spell  them  out  if  possible.  Beneath  the  windows,  in 
the  quatrefoils  of  the  arcade,  are  enamelled  glass  mosaics  repre- 
senting the  martyrdoms  of  the  saints— followers  of  Christ,  each 
wearing  his  own  crown  of  thorns :  a  pretty  conceit  wholly  in 
accord  with  St.  Louis's  ecstatic  type  of  piety.  Conspicuous 
among  them  are  St.  Denis  carrying  his  head,  St.  Sebastian 
pierced  with  arrows,  St.  Stephen  stoned,  St.  Lawrence  on  his 
gridiron,  etc.  Examine  and  identify  each  separately.  The  apse 
(formerly  separated  from  the  body  of  the  building  by  a  rood- 
screen,  now  destroyed)  contains  the  vacant  base  of  the  high 
altar,  behind  which  stands  an  arcaded  tabernacle,  now  empty, 
in  whose  shrine  were  once  preserved  the  Crown  of  Thorns,  the 
fragment  c  he  True  Cross,  and  other  relics.  Amongst  them  in 
later  t:  les  was  included  the  skull  of  St.  Louis  himself  in  a 
golden  reliquary.  Two  angels  at  the  summit  of  the  large  centre 
arch  of  the  arcade  bear  a  representation  of  the  Crown  of  Thorns 
in  their  hands.  Above  the  tabernacle  rises  a  canopy  or  baldac- 
chino,  approached  by  two  spiral  staircases  ;  from  its  platform 
St.  Louis  and  his  successors,  the  kings  of  France,  were  in  the 
habit  of  exhibiting  with  their  own  hands  the  actual  relics  them- 
selves once  a  year  to  the  faithful.  The  golden  reliquary  in 
which  the  sacred  objects  were  contained  was  melted  down  in  the 


mU 


w 


22 


PARIS 


[I. 


Revolution.  The  small  window  with  bars  to  your  n,  as  you 
face  the  high  altar,  was  placed  there  by  the  superstitious  and 
timid  Louis  XI,  in  order  that  he  might  behold  the  elevation  of 
the  Host  and  the  sacred  relics  without  being  exposed  to  the 
danger  of  assassination.  The  visitor  should  also  notice  the 
inlaid  stone  pavement,  with  its  frequent  repetition  of  the  fleur- 
de-lis  and  the  three  castles.  The  whole  breathes  the  mysticism 
of  St.  Louis  :  the  lightness  of  the  architecture,  the  height  of  the 
apparently  unsupported  roof,  and  the  magnificence  of  the  decor- 
ation, render  this  the  most  perfect  ecclesiastical  building  m 

Paris. 

In  returning  from  the  chapel,  notice  on  the  outside,  from  the 
court  to  the  s.,  the  apparently  empty  and  useless  porch,  sup- 
porting a  smal.  room,  which  is  the  one  through  whose  grated 
window  Louis  XI  used  to  watch  the  elevation. 

I  would  recommend  the  visitor  on  his  way  home  from  this 
excursion  to  walk  round  the  remainder  of  the  lie  de  la  Cit^  in 
the  direction  of  Notre-Dame,  so  as  to  gain  a  clear  idea  of  the 
extent  of  the  island,  without,  however,  endeavouring  to  examine 
the  cathedral  in  detail  on  this  occasion. 

Vary  your  artistic  investigations  by  afternoons  in  the  Bois  de 
Boulogne,  Champs  Elys^es,  etc. 


B.  NOTRE-DAME 
[In  very  early  times,  under  the  Prankish  monarchs,  the  prin- 
cipal church  of  Paris  was  dedicated  to  St.  Stephen  the  Proto- 
luartyr.  It  stood  on  part  of  the  site  now  covered  by  Notre- 
Dame,  and  was  always  enumerated  first  among  the  churches  of 
the  city.  A  smaller  edifice,  dedicated  to  the  Blessed  Virgin 
Mary,  also  occupied  a  part  of  the  site  of  the  existing  cathedral. 
About  the  middle  of  the  twelfth  century,  however,  it  was  re- 
solved to  erect  a  much  larger  cathedral  on  the  tie  de  la  Cit^, 
suitable  for  the  capital  of  so  important  a  country  as  France  had 
become  under  Louis  VI  and  Louis  VII  ;  and  since  the  cult  of 
the  Blessed  Virgin  had  then  long  been  increasing,  it  was  also 
decided  to  dedicate  the  new  building  to  Our  Lady  alone,  to  the 
exclusion  of  St.  Stephen.  The  two  early  churches  were  there- 
fore cleared  away  by  degrees,  and  in  1 163  the  work  of  erectin? 


[I. 

jr  R,  as  you 
rstitious  and 
•  elevation  of 
}osed  to  the 

0  notice  the 
of  the  fleur- 
he  mysticism 
height  of  the 
of  the  decor- 

1  building  in 

side,  from  the 
;s  porch,  sup- 
whose  grated 

ime  from  this 

de  la  Cit^  in 

ar  idea  of  the 

ng  to  examine 

in  the  Bois  de 


rchs,  the  prin- 
en  the  Proto- 

red  by  Notre- 
he  churches  of 
blessed  Virgin 
ting  cathedral, 
ver,  it  was  re- 
tle  de  la  Cit^, 
as  France  had 
nee  the  cult  of 
ng,  it  was  also 
ly  alone,  to  the 
les  were  there- 
ork  of  erectini? 


'•] 


THE  tLE  DE  LA   CIT± 


I' 


the  present  church  was  begun  under  Bishop  Maurice  de  Sully, 
the  first  stone  being  laid  by  Pope  Alexander  III,  in  persou. 
The  relics  of  St.  Stephen  were  reverently  conveyed  to  a  new 
church  erected  in  his  honour  on  the  hill  of  Ste.  Genevieve,  south 
of  the  river  (now  represented  by  St.  Etienne-du-Mont,  to  be 
described  hereafter),  and  Our  Lady  was  left  in  sole  possession 
of  the  episcopal  edifice.  Nevertheless,  it  would  seem  that  the 
builders  feared  to  excite  the  enmity  of  so  powerful  a  saint  as 
the  Protomartyr ;  for  many  memorials  of  St.  Stephen  remain 
to  this  day  in  the  existing  cathedral,  and  will  be  pointed  out 
during  the  course  of  our  separate  survey. 

Notre-Dame  de  Paris  is  an  edifice  in  the  Early  French 
Gothic  style,  the  first  great  church  in  that  style  to  be  erected 
in  France,  and  the  model  on  which  many  others  were  after- 
wards based.  Begun  in  1163,  it  was  consecrated  in  1182,  but 
the  western  front  was  not  commenced  till  1218,  and  the  nave 
was  only  finished  towards  the  middle  of  the  13th  century. 
Much  desecrated  in  the  Revolution,  the  cathedral  has  been  on 
the  whole  admirably  restored.  It  stands  at  present  lower  than 
it  once  did,  owing  to  the  gradual  rise  of  the  surrounding 
ground  ;  formerly,  it  was  approached  by  thirteen  steps  (the 
regulation  number,  imitated  from  the  Temple  at  Jerusalem). 
It  has  two  western  towers,  instead  of  one  in  the  centre  where 
nave  and  transepts  intersect,  as  is  usual  in  England  ;  so  have 
all  the  cathedrals  in  France  which  imitate  it.  This  peculiarity 
is  due  to  the  fact  that  French  Gothic  aims  especially  at  height. 
and,  the  nave  being  raised  so  very  high,  a  tower  could  not 
safely  be  added  above  it.  Other  differences  between  English 
and  French  '^othic  will  be  pointed  out  in  detail  in  the  course 

of  our  survey.  .  . 

Though  Notre-Dame  was  the  first  great  building  in  Paris 
proper,  ?t  must  be  borne  in  mind  that  the  magnificent  Basilica 
of  St.  Denis,  four  miles  to  the  north,  and  also  the  Abbey 
Church  of  St.  Germain-des-Prds,  in  the  southern  suburb,  ante- 
dated it  by  several  years. 

Recollect  three  things  about  Notre-Dame.  (i)  It  is  a  church 
of  Our  Lady:  therefore,  most  of  it  bears  reference  to  her  cult 
and  legends.  (2)  It  is  the  cathedral  church  of  Paris:  there- 
fore, it  is  full  of  memorials  of  local  saints— St.  Denis,  Ste, 


J  I 


i  J 


mmmmmmm 


mJ 


34 


PARIS 


[I. 


«•] 


Genevieve,  St.  Marcel,  Bishop  of  Paris,  etc.,  rmongst  whom 
must  also  be  classed  St.  Stephen.  (3)  It  is  a  royal  church: 
therefore  it  contains  many  reminders  of  the  close  alliance  of 
Church  and  State.  Thus  understood,  Notre-Dame  becomes  an 
epic  in  stone. 
Open  daily,  all  day  long,  free.    Take  your  opera-glasses.] 

Go  along  the  Rue  dc  Rivoli  as  far  as  the  Square  of  the  Tour 
St.  Jacques.  Walk  through  the  little  garden.  Notice,  in  pass- 
ing, *the  tower — all  that  now  remains  of  the  church  of  St. 
Jacques-de-la-Boucherie — used  at  present  as  a  meteorological 
observatory.  Turn  down  the  Rue  St.  Martin  to  the  Pont  Notre- 
Dame.  In  front,  L,  stands  the  HdtelDieu ;  R,  the  Tribunal  d^ 
Commerce ;  centre,  the  Marchd-aux-Fleurs ;  at  its  back,  the 
Prdfecture  de  Police.  Continue  straight  along  the  Rue  de  la 
Cit^,  passing,  R,  the  main  faqade  of  the  modern  Palais  de 
Justice  (with  a  glimpse  of  the  Ste.  Chapelle)  till  you  come  to 
the  broad  and  open  Place  Notre-Dame  (generally  known  by  its 
mediieval  name  of  the  Parvis).  Take  a  seat  under  the  horse- 
chestnuts  on  the  north  side  of  the  Place,  opposite  the  equestrian 
statue  of  Charlemagne,  in  order  to  examine  the  facade  of  the 
cathedral. 

The  **west  front,  dating  from  the  beginning  of  the  13th 
century  (later  than  the  rest),  consists  of  two  stories,  flanked  by 
towers  of  four  stories.  The  first  story  contains  the  three  main 
portals  :  L,  the  door  of  Our  Lady ;  centre,  of  her  Son ;  R,  of  her 
Mother.  On  the  buttresses  between  them  stand  four  statues  : 
extreme  L,  St.  Stephen  ;  extreme  R,  St.  Marcel,  Bishop  of  Pans 
la  canonized  holder  of  this  very  see) ;  centre  L,  the  Church, 
triumphant ;  centre  R,  the  Synagogue,  dejected  (representing 
between  them  the  Law  and  the  Gospel).  This  first  story  is 
crowned  and  terminated  by  the  Galerie  des  Rois,  containing 
figures  of  the  kings  of  Israel  and  Judah,  ancestors  of  the 
Blessed  Virgin  (others  say,  kings  of  France  to  the  date  of  the 
building),  destroyed  in  the  great  Revolution,  but  since  restored. 
On  the  parapet  above  it  stand,  R  and  L,  Adam  and  Eve  ; 
centre.  Our  Lady  and  Child  with  two  adoring  angels— the  Fall 
and  the  Redemption.  The  second  story  contains  the  great  rose 
window  and  two  side-arches  with  double  windows.    The  third 


stoi 
con 
(wJ 
the 
Th 
by 
ma 
ad« 
mn 
] 
po 
to 
do 
en 
CI; 
wJ 

CO 

br 
Lf 

wi 
th 
Al 
he 
th 
of 
T 
si< 
C 
si 
re 

gi 
b; 
vi 
a 
\.i 
01 
o 
F 

0 


ongst  whom 
yal  church: 

ic  alliance  of 
:  becomes  an 

i-glasses.] 

e  of  the  Tour 
>tice,  in  pass- 
hurch  uf  St. 
leteorological 
!  Pont  Notre- 
:  Tribunal  d^ 
its  back,  the 
he  Rue  de  la 
rn  Palais  de 
you  come  to 
known  by  its 
er  the  horse- 
he  equestrian 
'acade  of  the 

I  of  the  13th 
:s,  flanked  by 
lie  three  main 
ion ;  R,  of  her 
four  statues : 
ishop  of  Paris 
,  the  Church, 
(representing 
first  story  is 
lis,  containing 
estors  of  the 
le  date  of  the 
•ince  restored, 
m  and  Eve  ; 
?els— the  Fall 
the  great  rose 
s.    The  t/tird 


story  of  the  towers  consists  of  a  graceful  open-work  screen, 
continued  in  front  of  the  nave,  so  as  to  hide  its  ugly  gable 
(which  is  visible  from  further  back  in  the  Place),  thus  giving 
the  mail',  front  a  fallacious  appearance  of  having  three  stories. 
The  final  or  fourth  story  of  the  towers  is  pierced  on  each  side 
by  two  gigantic  windows,  adding  lightness  to  their  otherwise 
massive  block.  The  contemplated  spires  have  never  been 
added.  This  piotU  has  been  copied  with  modifications  in 
many  other  French  cathedrals. 

Now  approach  the  front,  to  examine  in  detail  the  **Kreftt 
portals,  deeply  recessed,  as  is  usual  in  French  cathedrals,  owing 
to  the  massive  masonry  of  the  towers.    The  left  or  northet-n 
doorway— that  of  Our  Lady  (by  which  her  church  is  usually 
entered)  bears  on  its  central  pier  a  statue  of  the  Virgin  and 
Child ;  beneath  her  feet  are  scenes  from  the  temptation  of  Eve, 
who  brought  into  the  world  sin,  and  the  first  murderer  Cain,  as 
contrasted   with  her   descendant,  the    Blessed   Virgin,  who 
brought  into  the  world  the  Redeemer  of  mankind.    Over  Our 
Lady's  head,  a  tabernacle,  representing  the  relics  preserved 
within.    In  the  tympanum,  first  tier,  L,  three  patriarchs ;  R, 
three  kings,  typifying  the  ancestors  of  the   Blessed  Virgin. 
Above,  second  tier,  the  Entombment  of  the  Virgin,  placed  in 
her  sarcophagus  by  angels,  and  attended  by  the  apostles  with 
their  familiar  symbols.     Higher  still,  third  tier,  the  Coronation 
of  the  Virgin,  in  the  presence  of  her  Son,  with  adoring  angels. 
The  whole  thus  represents  the  Glory  of  Our  Lady.    At  the 
sides  below,  life-size  figures ;    extreme  L,  Constantine,  first 
Christian  Emperor ;  extreme  R,  Pope  Silvester,  to  whom  he  is 
supposed  to  have  given  the  patrimony  of  St.  Peter— the  two 
representing  the  union  of  Church  and  State.    Next  to  these  the 
great  local  saints  :  ^  St.  Denis,  bearing  his  head,  and  guided 
by  two  angels  ;  R,  St.  John  Baptist,  St.  Stephen,  and  Ste.  Gene- 
vieve, with  the  devil  endeavouring  to  extinguish  her  taper,  and 
a  sympathizing  angel.    The  figures  on  the  arch  represent  spec- 
tators of  the  Coronation  of  the  Virgin.    Minor  subjects-signs 
of  the  Zodiac,  Months,  etc.-I  leave  to  the  ingenuity  and  skill 
of  the  reader.    The  *  centre  doorway  (commonly  called  the 
Porte  du  Jugement)  is  that  of  the  Redeemer,  Our  Lady's  Son  ; 
on  its  central  pier,  fine  modem  figure  of  Christ  blessing  ;  above, 


■A 


J/ 


26 


PARIS 


[I. 


•1 


in  the  tympanum,  the  usual  Last  Judgment.  First  tiw  (modern) 
the  General  Resurrection,  with  angels  of  the  last  trump,  and 
kings,  queens,  bishops,  knights,  etc.,  rising  from  their  tombs  ; 
conspicuous  among  them  is  naturally  St.  Stephen.  Second  tier, 
St.  Michael  the  Archangel  weighing  souls,  with  devils  and  angels 
in  waitMg,  the  devils  cheating  ;  p.,  the  wicked  (on  Christ's  left) 
hauled  in  chains  to  hell ;  L,  the  saints  (on  His  right)  ascending 
to  glory.  On  the  summit,  third  tier,  the  New  Jerusalem,  with 
Christ  enthroned,  showing  His  wounds  in  mercy,  flanked  by 
adoring  angels  holding  the  cross,  spear,  and  nails ;  L,  the 
Blessed  Virgin,  patroness  of  this  church  ;  and  R,  Ste.  Genevifeve, 
patroness  of  Paris,  interceding  for  their  votaries.  (Last  figure  is 
usually,  but  I  think  incorrectly,  identified  as  St.  John  the  Evan- 
gelist, who  has  no  function  on  a  Parisian  Cathedral.)  This 
relief,  closely  copied  at  the  Ste.  Chapelle,  is  itself  imitated  from 
one  at  St.  Denis.  On  the  lintels  the  Wise  (l)  and  Foolish  (R) 
Virgins  ;  Land  Ron  jambs,  life-size  figures  of  the  Twelve  Apostles, 
with  their  usual  symbols.  Observe  the  beautiful  ironwork  ol 
the  hinges.  The  third  or  southern  portal,  that  of  St.  Anne— the 
Mother  of  the  Virgin  —contains  older  work  than  the  other 
two,  replaced  from  the  earlier  church  on  the  same  site.  The 
style  of  the  figures  is  therefore  Romanesque,  not  Gothic  ;  so  is 
the  architecture  represented  in  them.  On  the  centre  pier,  St. 
Marcel,  Bishop  of  Paris.  Above,  tympanum,  history  of  St. 
Anne  ;  first  tier,  centre,  the  meeting  of  Joachim  and  Anna  at  the 
Golden  Gate  ;  L,  Marriage  of  the  Virgin  ;  R,  her  Presentation  by 
St.  Anne  in  the  Temple,  etc.  Second  tier,  the  Nativity,  and  the 
visit  of  the  Magi  to  Herod  ;  at  the  summit,  third  tier,  Madonna 
enthroned,  with  adoring  angels,  a  king,  and  a  bishop— Church 
and  State  once  more  identified.  The  work  on  this  doorway 
much  resembles  that  at  St.  Denis.  Magnificent  iron  hinges, 
brought  from  old  St.  Stephen's. 

Walk  round  the  quay  on  the  South  side  to  examine  the  body 
of  the  church.  Notice  the  lofty  Nave,  and  almost  equally 
lofty  Aisles,  with  (later)  side-chapels  built  out  as  far  as  the  level 
of  the  Transept ;  also,  the  flying  buttresses.  As  in  most  French 
churches,  the  transepts  are  short,  and  project  but  little  from 
the  aisles.  The  South  Transept  has  a  good  late  /a^ade  with 
two  rose  windows.     Its  portal— ill  visiWe— is  dedicated  (in 


•■] 


THE  tLE  DE  LA   ClTt 


t  tier  (modern) 
St  trump,  and 
their  tombs  ; 
.  Second  tier, 
vils  and  angels 
n  Christ's  left) 
ht)  ascending 
erusalem,  with 
:y,  flanked  by 
nails ;  L,  the 
Ite.  Genevifeve, 
(Last  figure  is 
ohn  the  Evan- 
hedral.)  This 
'  imitated  from 
id  Foolish  (r) 
welve  Apostles, 
j1  ironwork  ol 
■  St.  Anne— the 
han  the  other 
me  site.  The 
Gothic  ;  so  is 
lentre  pier,  St. 
history  of  St. 
nd  Anna  at  the 
Presentation  by 
ativity,  and  the 
tier.  Madonna 
ishop— Church 
1  this  doorway 
nt  iron  hinges, 

mine  the  body 
almost  equally 
far  as  the  level 
n  most  French 
but  little  from 
ite  facade  with 
dedicated  (in 


compensation)  to  the  displaced  St.  Stephen,  and  contams  on 
the  pier  a  figure  of  the  saint,  robed,  as  usual,  as  a  deacon ;  m 
the  tympanum  are  reliefs  of  his  preaching,  martyrdom,  death, 
and  glorification.  Note,  to  the  R,  a  small  relief  of  St.  Martin 
of  Tours  dividing  his  cloak  with  the  beggar. 

Enter  the  little  garden  further  east,  which  occupies  the  site 
of  the  former  archevteh^,  in  order  to  observe  the  character- 
istic French  form  ol  the  choir— a  lofty  and  narrow  apse,  with 
apsidal  aisles  and  circular  chapels  added  below,  the  whole 
forming  what  is  called  a  chevet.    The  light  flying  buttresses 
which  support  the  soaring  and  slender  choir  add  greatly  to  the 
beauty  and  picturesqueness  of  the  building.    Pretty  modern 
Gothic  fountain.     Quit  the  garden  and  continue  round  the 
Northern  side  of  the  Cathedral.    The  first  (small)  door  at  which 
we  arrive— the  Porte  Rouge— admits  the  canons.    It  is  a  late 
addition,  built  in  1407  by  Jean  sans  Peur,  Duke  of  Burgundy, 
,1  expiation  of  his  murder  of  the  Duke  of  Orleans;  the  donor 
and  his  wife  kneel  on  each  side  of  the  Coronation  of  the  Virgm 
in  the  tympanum.    Notice  here  the  gargoyles  p.nd  the  graceful 
architecture  of  the  supports  to  the  buttresses.    The  second 
(larger)  door— the  Portail  du  Clottre,  so  called  from  the  cloisters 
long  demolished-in  the  North  Transept   contains   a  good 
statue  of  the  Madonna  on  the  pier  ;  above,  in  the  tympanum, 
confused  figures  tell  obscurely  the  legend  of  the  monk  Theo- 
philus,  who  sold  his  soul  to  the  devil.     Stand  opposite  this 
door,  on  the  far  pavement,  to  observe  the  architecture  of  the 
North  Transept.    The  best  point  of  view  for  the  whole  body  of 
the  cathedral,  as  distinct  from  the/afa*,  can  be  obtained  from 
the  Quai  de  Montebello  on  the  south  side  of  the  river. 

To  visit  the  interior,  enter  by  the  L,  or  northern  door  of  the 
/tffa/fe-that  of  Our  Lady.  The  lofty  nave  is  flanked  by  double 
aisles,  all  supported  by  powerful  piers.  Walk  across  the  church 
and  notice  all  five  vistas.  Observe  the  height  and  the  delicate 
arches  of  the  triforium,  or  pierced  gallery  of  the  second  story,  as 
well  as  the  windows  of  the  clerestory  above  it-the  part  of  the 
nave  which  rises  higher  than  the  aisles,  and  opens  freely  to  the 
exterior.  Walk  down  the  outer  R  aisle.  The  sidechapels, 
each  dedicated  to  a  separate  saint,  contain  the  altars  and 
statues  of  their  patrons.   Notice  the  shortness  of  the  Transepts, 


rl 


38 


PARIS 


'1 


with  their  great  rose  windows ;  observe  also  the  vaulting  of 
the  roof,  especially  at  the  intersection  of  the  four  main  arms  of 
the  building.  The  entrance  to  the  choir  and  ambulatory  is  in 
the  R  or  s  Transept.  Close  by,  near  the  pillar,  Notre-Dame 
de  Paris,  /Ae  wonder-working  mediaeval  statue  of  Our  Lady. 
The  double  aisles  are  continued  round  the  choir,  which  is 
separated  from  them  by  a  wall  and  gateways.  Approach  the 
brass  grills,  in  order  to  inspect  the  interior  of  the  choir,  whose 
furniture  was  largely  modernised  and  ruined  by  Louis  XIV,  in 
accordance  with  a  misguided  vow  of  his  father.  Chapels  sur- 
round the  ambulatory,  many  of  them  with  good  glass  windows 
and  tolerable  frescoes.  The  chapel  at  the  end  is  that  of  Our 
Lady  of  the  Seven  Sorrows. 

By  far  the  most  interesting  object  in  the  interior,  however,  is 
the  series  of  **  high  reliefs  In  stone,  gilt  and  painted  (on  the 
wall  between  choir  and  ambulatory),  executed  early  in  the  14th 
century  by  Jehan  Ravy  and  his  nephew,  Jehan  de  Bouteiltier, 
which,  though  inferior  in  merit  to  those  in  the  same  position  in 
Amiens  cathedral,  are  admirable  examples  of  animated  and 
vigorous  French  sculpture  of  their  period.  The  series  begins 
on  the  N  side  of  the  choir,  at  the  point  most  remote  from  the 
grill  which  leads  to  the  Transept.  The  remaining  subjects  (for 
some,  like  the  Annunciation,  are  destroyed)  comprise  the 
Visitation ;  Adoration  of  the  Shepherds ;  Nativity  ;  Adoration  of 
the  Magi  (note  the  Three  Kings,  representing  the  three  ages  of 
man  ;  the  oldest,  as  usual,  has  removed  his  crown,  and  is  offer- 
ing his  gift) ;  the  Massacre  of  the  Innocents  ;  the  Flight  into 
Egypt  (where  a  grotesque  little  temple,  containing  two  odd 
small  gods,  quaintly  represents  the  prevalence  of  idolatry); 
the  Presentation  in  the  Temple ;  Christ  among  the  Doctors ; 
the  Baptism  in  Jordan  (with  attendant  angel  holding  a  towel) ; 
the  Miracle  at  Cana  ;  the  Entry  into  Jerusalem  (with  Zacchxus 
in  the  tree,  and  the  gate  of  the  city) ;  the  Last  Supper ;  the 
Washing  of  the  Apostles'  feet ;  and  the  Agony  in  the  Garden. 
The  tourist  should  carefully  examine  all  these  subjects,  the 
treatment  of  which  strikes  a  keynote.  Similar  scenes,  almost 
identical  in  their  figures,  will  be  found  in  abundance  at  Cluny 
and  elsewhere.  Note,  for  example,  the  symbolical  Jordan  in 
the  Baptism,  with  St.  John  pouring  water  from  a  cup,  and  the 


attend 
after. 
The 
little  1 
model 
begin 
tangei 
dener] 
Disci[ 
Elevei 
the  se 
Moun 
Scour; 
troyed 
provei 

XI  n. 

order. 
The! 
Thorr 

Lea 
seat  y 
Trans 
and  tl 
Obsei 
which 
walls 
merel 
glass 
Left/ 

Th< 
lighte 
cents. 
inspe( 
viewh 
hind  i' 
of  the 
thent 
the  ro 
toweri 


[I. 

the  vaulting  of 
■  main  arms  of 
nbulatory  is  in 
tr,  Notre-Dame 
I  of  Our  Lady. 
:hoir,  which  is 

Approach  the 
he  choir,  whose 
Louis  XIV,  in 
'.  Chapels  sur- 
.  glass  windows 

is  that  of  Our 

'ior,  however,  is 
painted  (on  the 
irly  in  the  14th 

de  Bouteiltier, 
ame  position  in 
'  animated  and 
s  series  begins 
smote  from  the 
ng  subjects  (for 

comprise  the 
y ;  Adoration  of 
le  three  ages  of 
irn,  and  is  offer- 
the  Flight  into 
lining  two  odd 
e  of  idolatry); 
I  the  Doctors ; 
ding  a  towel) ; 
(with  Zacchseus 
it  Supper ;  the 
in  the  Garden, 
e  subjects,  the 

scenes,  almost 
lance  at  Cluny 
lical  Jordan  in 
a  cup,  and  the 


'1 


THE  IlE  de  la   CITA 


n 


attendant  angel,  all  of  which  we  shall  often  recognise  here- 
after. 

The  series  is  continued  on  the  other  (s)  side  of  the  choir  (a 
little  later  in  date,  with  names  in  Latin  underneath  ;  better 
modelled,  but  neither  so  quaint  nor  so  vigorous).  The  subjects 
begin  by  the  grill  of  the  South  Transept,  with  the  "  Noli  me 
tangere "  or  Apparition  to  Mary  Magdalen  (Christ  as  a  gar- 
dener) ;  the  Apparition  to  the  Marys ;  to  Simon  Peter  ;  to  the 
Disciples  at  Emmaus  (dressed  as  mediaeval  pilgrims) ;  to  the 
Eleven  Apostles  ;  to  the  Ten  and  Thomas  ;  to  the  Eleven  by 
the  sea  of  Tiberias  ;  to  the  Disciples  in  Galilee  ;  and  on  the 
Mount  of  Olives.  The  intervening  and  remaining  subjects- 
Scourging,  Crucifixion,  Ascension,  etc.— were  ruthlessly  des- 
troyed by  Louis  XtV,  in  order  to  carry  out  his  supposed  im- 
provements in  accordance  with  the  vow  of  his  father,  Louis 
XIII.  The  woodwork  of  the  choir-stalls,  executed  by  his 
order,  is  celebrated,  and  uninteresting.  You  may  omit  it. 
The  Treasury  contains  little  of  artistic  value.  The  Crown  of 
Thorns  still  figures  in  its  inventory. 

Leave  the  Choir  by  the  door  by  which  you  entered  it,  and 
scat  yourself  for  a  while  at  the  intersection  of  the  Nave  and 
Transepts,  in  order  to  gain  a  good  idea  of  the  Apse,  the  Choir, 
and  the  general  arrangement  of  the  shortly  cruciform  building. 
Observe  the  beautiful  vaulting  of  the  roof,  and  the  extent  to 
which  the  church  is  borne  on  its  piers  alone,  the  intervening 
walls  (pierced  by  windows  and  triforium-arches)  being  intended 
merely  for  purposes  of  enclosure.  Note  also  the  fine  ancient 
glass  of  the  rose  windows.  Quit  the  church  by  the  North  or 
Left  Aisle,  and  come  back  to  it  often. 

Those  who  are  not  afraid  of  a  spiral  staircase,  mostly  well 
lighted,  should  ascend  the  Left  or  North  Tower  (tickets  fifty 
cents,  each,  at  the  base  of  the  tower).  Stop  near  the  top  to 
inspect  the  gallery,  with  the  famous  birds  and  demons.  The 
view  hence  embraces  from  the  front  the  Tower  of  St.  Jacques ;  be- 
hind it,  the  hill  of  Montmartre,  with  the  white  turrets  and  cupolas 
of  the  church  of  the  Sacrd  Cceur ;  a  little  to  the  L,  St.  Eustache  ; 
then  the  Tribunal  de  Commerce  ;  St.  Augustin  ;  the  Louvre  ; 
the  roof  of  the  Ste.  Chapelle  ;  the  Arc  de  Triomphe  ;  the  twin 
towers  of  the  Trocad&o  ;  the  Eiffel  Tower  ;  the  gilded  dome  of 


J' 


30 


PARIS 


ll. 


the  Invalidcs  ;  St.  Sulpice,  etc.  The  lie  de  la  Citti  is  well  seen 
hence  as  an  island.  Note  also  the  gigantic  size  of  the  open 
screen,  which  looked  so  small  from  below.  Ascend  to  the  top. 
Good  general  panorama  of  the  town  and  valley.  This  is  the 
best  total  view  of  Paris,  far  superior  to  that  from  the  Eiffel 
Tower,  being  so  much  more  central. 

Return  by  the  Pont  d'Arcole  (whence  you  get  a  capital  notion 
of  the  bifurcation  of  the  Seine  around  the  tie  St.  Louis),  and 
then  pass  the  modem  H6tel-deVille,  with  St.  Gervais  behind 
it,  on  your  way  home  to  the  Rue  de  Rivoli. 


Cit^  is  well  seen 
lize  of  the  open 
cend  to  the  top. 
ey.  This  is  the 
from  the  Eiffel 

t  a  capital  notion 

!  St.  Louis),  and 

Gervais  behind 


i  I  I 


J 


Q 


MAP  OF  HISTORIC  PARIS. 

This  Map  represents  approximately  the  growth  oj  Paris,  out- 
side the  island,  at  different  epochs.  Earlier  buildings  are  printed 
in  black  ;  later  streets  and  edifices  are  shown  by  means  of  dotted 
lines.  But  the  Map  does  not  represent  the  aspect  of  Paris  at 
any  one  time  j  it  merely  illustrates  this  Guide:  thus,  the  original 
Chdteau  of  the  Louvre  is  marked  in  black  j  the  later  Palace  is 
dotted;  whereas  the  Madeleine,  a  much  more  modem  building 
than  the  Louvre  of  Francois  I,  is  again  inserted  in  black,  be- 
cause it  does  not  inter/ere  with  the  site  of  any  more  ancient 
building.  In  very  early  times  the  town  spread  south  as  far  only 
as  Cluny,  and  north  (Just  opposite  the  island)  as  far  as  the  Rue 
de  Rivoli.  The  subsequent  wall*  are  marked  approximately  on 
the  Map,  with  the  chief  edifices  enclosed  by  them.  The  fortifica- 
tions of  Louis  XIII  were  demolished  by  Louis  XIV,  who  sub- 
stituted for  them  the  broad  streets  still  known  as  the  Boulevard* 
This  Map  shows,  roughly  speaking,  the  extent  of  Paris  under 
Louis  XIV;  by  comparing  it  with  Baedeker's  Map  of  Modem 
Paris,  the  small  relative  sise  of  the  ijth-century  town  will  be  at 
once  appreciated.  Nevertheless,  the  inner  nucleus  here  mapped 
out  contains  almost  everything  worthy  of  note  in  the  existing 
city. 


ttM 


THE  LEFT  OR  SOUTH   BANK 

T'TpHE  earliest  overflow  of  Paris  was  from  the  tie  de  la 
L  l        Citd  to  the  Lett  or  South  Bank  {Rive  Gauche). 

The  reason  for  this  overflow  is  clear.    The  city  was  situated 
on  a  small  island,  near  the  head  of  navigation  ;  it  guarded 
the  passage  of  the  Seine  by  the  double  bridge.     Naturally, 
however,  at  a  time  when  all  civilization  lay  to  the  south,  as 
the  town  began  to  grow,  it  spread  southward,  towards  Rome, 
Lyons,   Marseilles,   Bordeaux,  Toulouse,  Aries,   Nimcs,  and 
the  Roman  culture.    To  the  north  at  that  time  lay  nothing 
but  comparative  barbarism— the  Dritons  and  the  Germans  ; 
or  later,  the  English,  the  Normans,  and  the  Teutonic  hordes. 
Hence,  from  a  very  early  date,   Paris  first  ran  aouthward 
along  the  road   to  Rome.     Already  in  Roman  times,  here 
stood  the  palace  of  Constantius  Chlorus  and  Julian,  now  the 
Thermes— the  fortress  which  formed  the  tite  du  pont  for  the 
city.    Later,  the  southern  suburb  became  the  seat  of  learning 
and  law  ;  it  was  known  by  the  name  which  it  still  in  part 
retains  of  the  University,  but  is  oftener  now  called  the  Quartier 
Latin.    At  first,  however,  only  a  small  portion  of  the  Left  Bank 
was  built  over.     But  gradually  the  area  of  the  new  town  spread 
from  the  immediate  neighbourhood  of  the  old  Hotel-Dieu,  with 
its  church  or  chapel  of  St.  Julien-le-Pauvre,  to  the  modern  limit 
of  the  Boulevard  St.  Germain  ;  and  thence  again,  by  the  time 
of  Louis  Quatorze,  to  the  further  Boulevards  just  south  of  the 
Luxembourg.      It  is  interesting  to  note,  too,   that    all    this 
southern  side,  long  known  as  the  UniversittS,  still  retains  its 
position  as  the  learned  district.     Not  only  does  it  include  the 
students'  region— the  Quartier  Latin— with  many  of  the  chief 
artistic  studios,  but  it  embraces  in  particular  the  Sorbonne,  or 

14 


u 

L( 

i': 

F 

til 
s 

s< 

si 

tl 

c^ 
tl 

si 
o 

b 
( 

/ 

0 

c 
s 

a 


I  the  tie  de  la 
'  Gauche). 
ty  was  situated 
n  ;  it  guarded 
^e.     Naturally, 
I  the  south,  as 
towards  Rome, 
i,   Nimes,  and 
lie  lay  nothing 
the  Germans  ; 
eutonic  hordes. 
an  aouthward 
lan  times,  here 
Julian,  now  the 
iu  pont  for  the 
eat  of  learning 
it  still  in  part 
:d  the  Quariier 
>f  the  Left  Bank 
ew  town  spread 
iotel-Dieu,  with 
he  modern  limit 
kin,  by  the  time 
jst  south  of  the 
I,   that    all    this 
,  still  retains  its 
!s  it  include  the 
any  of  the  chief 
the  Sorbonne,  or 


II.l 


THE  LEFT  OR  SOUTH  BANK 


35 


Ifr 


University,  the  Institute  of  France,  with  its  various  branches 
(Acaddmie  Franqaise,  Acad«5mie  des   Inscriptions  et   Belles- 
Lettres,  Acadt'mie  des   Sciences,  des   Beaux-Arts,  etc.),  the 
tcole  des  Beaux-Arts,  the  I^cole  de  Mddicine,  the  College  de 
France,  the  Lycces  St.  Louis,  Louis-le-Cirand,  and  Henri  IV, 
the  tcole  Poly  technique,  the  Nicole  des  Mines,  the  Bibliothique 
Ste.  Geneviive,  the  Jardin  des  Plantes,  and  the  Luxembourg 
Museum  of  Modern  Paintings.     In  short,  the  Left  Bank  repre- 
sents literary,  scientific,  artistic,  and  educational   Paris -the 
students  in  law,  arts,  and  medicine,  with  their  own  subventioned 
theatre,  the  Odcon,  and  their  libraries,  schools,  laboratories,  and  y 
cafi's.    It  is  further  noticeable  that  these  institutions  cluster 
thickest  round  the  older  part  of  the  southern  suburb,  just  oppo- 
site the  Citd,  while  almost  all  of  them  lie  within  the  limits  of  the 
outer  boulevards  of  Louis  XIV. 

The  Quartler  Latin  surrounds  the  Sorbonne,  and  is  traversed 
by  the  modern  Boulevard  St.  Michel.  The  Faubourg  St. 
Qemialn,  immediately  to  the  west  of  it  (surrounding  the  old 
Abbey  of  St.  Germain-desPrds)  is  of  rather  later  date ;  it 
owes  its  origin  in  large  part  to  the  Renaissance  spirit,  and 
especially  to  Marie  de  Mddicis'  palace  of  the  Luxembourg.  It  is 
still  the  residence  of  many  of  the  old  nobility,  and  is  regarded 
as  the  distinctively  aristocratic  quarter  of  Paris,  in  the  restricted 
sense,  while  the  district  lying  around  the  Champs  itlysdes  is 
rather  plutocratic  and  modem  than  noble  in  the  older  signifi- 
cation of  the  word. 

The  visitor  will  therefore  bear  in  mind  distinctly  that  the 
South  Side  is  the  Paris  of  the  Students.] 


A.    THE  ROMAN   PALACE  AND  THE 

mus6e  de  CLUNY 

[The  primitive  nucleus  of  the  suburb  on  the  South  Side  con- 
sists of  the  Roman  fortress  palace,  the  iiU  du  pont  of  the 
Left  Bank,  now  known  as  the  Thermes,  owing  to  the  fact  that 
its  principal  existing  remains  include  only  the  ruins  of  the  baths 
or  therma.  This  colossal  building,  probably  erected  by  Con- 
stantius  Chlorus,  the  father  of  Constantine,  covered  an  enormous 


•li! 


36 


PARIS 


Ih 


area  south  of  the  river.  After  the  Prankish  conquest,  it  still 
remained  the  residence  of  the  Merwing  and  Karling  kings  on 
the  rare  occasions  when  they  visited  Paris  ;  and  it  does  not 
seem  to  have  fallen  into  utter  decay  till  a  comparatively  late 
date  in  the  Middle  Ages.  With  the  Norman  irruptions,  how- 
ever, and  the  rise  of  the  real  French  monarchs  under  Eudes 
and  the  Capets,  the  new  sovereigns  found  it  safest  to  transfer 
their  seat  to  the  Palace  on  the  Island  (now  the  Palais  de  Justice), 
and  the  Roman  fortress  was  gradually  dismantled.  In  1340 
the  gigantic  ruins  came  into  the  hands  of  the  powerful  Bene- 
dictine Abbey  of  Cluny,  near  Micon,  in  Burgundy  ;  and  about 
1480,  the  abbots  began  to  erect  on  the  spot  a  town  mansion 
for  themselves,  which  still  bears  the  name  of  the  Hdtel  de 
Cluny.  The  letter  K,  the  mark  of  Charles  VIII  (1483-1498). 
occurs  on  many  parts  of  the  existing  building,  and  fixes  its 
epoch.  The  house  was  mostly  built  by  Jacques  d'Amboise, 
abbot,  in  1490.  The  style  is  late  Gothic,  with  Renaissance 
features.  The  abbots,  however,  seldom  visited  Paris,  and  they 
frequently  placed  their  town  house  accordingly  at  the  disposi- 
tion of  the  kings  of  France.  Mary  of  England,  sister  of  Henry 
VIII,  and  widow  of  Louis  XII,  occupied  it  thus  in  1515,  soon 
after  its  completion.  It  was  usual  for  the  queens  of  France  to 
wear  white  as  mourning  ;  hence  her  apartment  is  still  known 
as  the  Chambre  de  la  nine  blanche. 

At  the  Revob't^on,  when  the  property  of  the  monasteries  was 
confiscated,  the  Hotel  de  Cluny  was  sold,  and  passed  at  last,  in 
1833,  into  the  hands  of  M.  du  Sommerard,  a  zealous  antiquary, 
who  began  the  priceless  collection  of  works  of  art  which  it 
contains.  He  died  in  1842,  and  the  Government  then  bought 
the  house  and  museum,  and  united  it  with  the  Roman  ruin  at 
its  back  under  the  title  oi  Musie  des  Thermes  et  de  PHdtel  de 
Cluny.  Since  that  time  many  further  objects  have  been  added 
to  the  collection. 

At  Cluny  the  actual  building  forms  one  of  the  most  interesting 
parts  of  the  sighi,  and  is  in  itself  a  museum.  It  is  a  charming 
specimen  of  a  iate  medieval  French  mansion  ;  and  the  works 
of  art  it  contains  are  of  the  highest  artistic  value.  I  am  able 
briefly  to  describe  only  what  seem  to  me  the  most  important  out 
of  its  many  thousands  of  beautiful  exhibits.    At  least  two  whole 


:onquest,  it  still 
arling  kings  on 
nd  it  does  not 
nparatively  late 
irruptions,  how- 
is  under  Eudes 
ifest  to  transfer 
alais  de  Justice), 
ntled.  In  1340 
powerful  Bene- 
ndy ;  and  about 

town  mansion 
)f  the  H6tel  de 
III  (1483-1498), 
\g,  and  fixes  its 
ques  d'Amboise, 
ith  Renaissance 

Paris,  and  they 
'  at  the  disposi- 
,  sister  of  Henry 
us  in  15 1 5,  soon 
;ns  of  France  to 
It  is  still  known 

monasteries  was 
passed  at  last,  in 
salnus  antiquary, 

of  art  which  it 
ent  then  bought 

Roman  ruin  at 
ei  de  PHdtel  de 
tiave  been  added 

e  most  interesting 
It  is  a  charming 
;  and  the  works 
due.  I  am  able 
lost  important  out 
.t  least  two  whole 


days  should  be  devoted  to  Cluny  —one  to  the  lower  and  one  to 
the  upper  floor.    Much  more,  if  possible.] 

Go  to  the  Place  du  Ch&telet ;  cross  the  bridge,  and  the  !le 
de  la  Citd;  also,  the  Pont  St.  Michel  to  the  South  Side. 
Good  view  of  Notre-Dame  to  L.  In  front  lies  the  modern 
Boulevard  St.  Michel,  with  the  Fontaine  St.  Michel  in  the 
foreground  (statue  by  Duret).  Continue  along  tha  Boulevard 
till  you  reach  the  Boulevard  St.  Germain,  another  great  modem 
thoroughfare  which  cuts  right  through  the  streets  of  the  old 


to    V. 


"1- 


Jill 

y.      ^^OBRIDOR     III 


MUSltE  DE  CLUNY 
GROUND  FLOOR 


Faubourg  and  the  narrow  alleys  of  the  Latin  Quarter.  Th? 
Garden  at  the  corner  contains  all  that  remains  of  the  Roman 
Palace.  Notice  its  solid  masonry  as  you  pass.  Then,  take 
the  first  turn  to  the  L,  the  Rue  du  Sommerard,  which  leads 
you  at  once  to  the  door  of  the  Museum. 

Notice  the  late  semi-Gothic  Gateway,  resembling  that  of  an 
Oxford  college.  Pass  through  the  flat-arched  gate  into  the 
handsome  courtyard.  To  the  L  is  a  late  Gothic  loggia,  con- 
taining a  few  antiques.  In  front  stands  the  main  building,  with 
square  windows  and  high  dormers,  bearing  the  stafTand  pilgrim's 


38 


PARIS 


[11. 


scallop,  the  symbol  of  St.  James,  with  the  cardinal's  hat  and 
scutcheons  and  devices  of  the  family  D'Amboise,  thus  indicat- 
ing the  name  of  Jacques  d'Amboise,  the  abbot  who  built 
it.  Entrance  to  the  R.  Open  free,  daily,  1 1  to  4  or  5,  except 
Mondays. 

The  first  suite  of  rooms  which  we  enter  form  some  of  the 
apartments  of  the  original  building.    Observe  the  fine  timbered 
ceilings. 
Room  I.— Panels,  etc.,  in  wood-carving. 
Room  II.— *Fine  French  chimney-piece,  by  Hugues  Lalle- 
ment,  dated   1562,  representing  Christ  and   the  Woman  of 
Samaria  at  the  well,  brought  from  a  house   tt  ChAlons-sur- 
Marne.     R  and  L  of  entrance  (wall  A  on  plarO         'den  seats, 
with  canopy,  holding  good  Gothic  wood-carvings.    Notice  L  of 
door,  a  Deposition  in  the  Tomb;  (801)  Madonna  and  Child  ; 
then.  Birth  of  the  Virgin,  with  St.  Anne  in  a  bed  ;  and  below, 
head  of  a  Saint,  hollow,  intended  to  contain  her  skull  or  relics. 
Near  it  (762),  decapitation  of  St.  John  Baptist,  German,  i6th 
century  ;  and  (789)  Death  of  the  Virgin.    R  of  doorway,  three 
reliquary  heads,  and  (783  and  784)  two  groups  of  the  Education 
of  the  Virgin.    Above,  several  representations  of  the  Circum- 
cision.   Wall  B,  between  the  windows,  (745)  quaint  reliquary 
head  of  St.  Mabile,  one  of  St.  Ursula's  11,000  virgins,  the  hair 
gilt,  Italian,  15th  century  ;  near  it.  Angel  of  the  Annunciation  ; 
Madonna  and  Child  ;  and  Flight  into  Egypt.    Fine  wooden 
chests.    In  the  cases,  collections  of  siioes,  uninteresting. 

Room  III.— Wood-carvings,  more  or  less  Gothic.  Wall  A, 
(788)  Madonna  supporting  the  dead  Christ,  under  a  canopy, 
16th  century  ;  (816)  Holy  Women,  with  small  figure  of  thi.  ■  )uor, 
kneeling.  (709)  large  carved  altar-piece,  end  of  15th  cf  ti  v.  - 
in  the  centre.  Crucifixion,  with  quaintly  brutal  Roman  soldicf  , 
fainting  Madonna,  and  Holy  Women  in  fantastic  head-dressr. 
of  the  period  ;  below.  Nativity,  and  Adoration  of  the  Magi ;  L 
side,  above.  Flagellation,  with  grotesquely  cruel  soldiers; 
beneath  it,  angels  displaying  ihe  napkin  of  St.  Veronica ;  R 
side,  above.  Deposition  in  the  Tomb  ;  beneath  it,  angels  sup- 
porting the  instruments  of  the  Passion— a  splendid  piece  of 
Flemish  carving.  Above,  two  statues  of  St.  George.  Further 
on  (712),  votive  triptych  against  the  plague,  Flemish,  carved, 


wi 
th 
at 
in 
K 
th 
ki 
E 
c< 
i< 
S 
V 
tl 
o 
U 
a 
d 
« 

C 

c 

( 
s 

1 
t 

/ 

] 

i 
1 

i 
( 
( 


al's  hat  and 
thus  indicat- 
t  who  built 
or  5,  except 

some  of  the 
fine  timbered 


fugues  Lalie- 
!  Woman  of 
Ch&lons-sur- 
.  oden  seats, 
Notice  L  of 
a  and  Child  ; 
;  and  below, 
ikull  or  relics. 
German,  i6th 
oorway,  three 
he  Education 
■  the  Circum- 
aint  reliquary 
gins,  the  hair 
Annunciation ; 
Fine  wooden 
:eresting. 
lie.  Wall  A, 
ler  a  canopy, 
eof  thi.  'nior, 
15th  Cf-tlVUiV  ; 

3man  soldiet-, 
:  head-dresso . 
F  the  Magi ;  L 
ruel  soldiers; 
Veronica ;  R 
it,  angels  sup- 
indid  piece  of 
)rge.  Further 
emish,  carved, 


ffi!*' 


II.] 


THE  LEFT  OR  SOUTH  BANK 


39 


with  painted  flaps  on  the  doors  ;  L,  St.  Sebastian,  with  arrows  of 
the  pestilence  ;  R,  St.  Roch  exhibiting  his  plague-spot,  with 
angel  who  consoled  him  and  dog  who  fed  him  (see  the  legend 
in  Mrs.  Jameson) ;  centre.  Adoration  of  the  Magi ;  the  Three 
Kings  represent  (as  usual)  the  three  ages  of  man,  and  also  the 
three  old  continents,  Europe,  Asia,  Africa  ;  hence  the  youngest 
king  is  represented  as  a  Moor.    Other  episodes  (Flight  into 
Egypt,  Return  of  Magi,  etc.),  in  the  background— late   15th 
century.    Wall  B,  first  window,  stained  glass,  German  panes, 
15th  century.  Annunciation,  in  two  panels  (i960  and  1957)- 
Beyond  it  (830),  in  woodwork,  i6th  century.  Coronation  of  the 
Virgin  by  Christ  and  God  the  Father— a  somewhat  unusual 
treatment.    Above  (7  58).  Stem  of  Jesse,  representing  the  descent 
of  Christ ;  notice  David  with  his  harp  and  other  kings  of  Israel ; 
late  isth  century.    Second  window  (1958  and  1959),  St  Hubert 
and    St.    Lambert,  companions  to  the  Annunciation;   (721) 
dainty  little  Crucifixion  (i6th  century),  in  coloured  German 
wood-carving  ;  (i686)  Flemish  painting,  school  of  Van  Eyck, 
Crucifixion.    Wall  D,  windows  (1961  and  1962),  St.  Peter  and 
St.  George  ;  (1963  and  1964)  St.  Hubert,  and  St.  Antony  Abbot 
(with  his  pig,  staff,  and  bell).    Wall  C,  altar-piece,  unnumbered ; 
subjects  much  as  opposite ;  centre,  Crucifixion  ;  beneath  it. 
Nativity,  Adoration  of  Magi.    L,  Way  to  Calvary  (with  gro- 
tesquely bruul  soldiers) ;  beneath  it.  Annunciation  (notice  the 
prie-dieu,  book,  and  bed  in  the  background),  and  Visitation  ;  R, 
Descent  from  the  Cross,  with  St.  John  and  the  Marys  ;  beneath 
it,    Circumcision,   and   Presentation   in  the   Temple.     (710) 
Deposition  from  the  Cross,  very  good,  with  painted  wings 
from  the  Passion.    All  the  wood-carvings  in  this  room  deserve 
careful  attention.     Inspect  them  all,  and,  as  far  as  possible, 
discover  their  subjects. 

ROOM  IV.— Fine  Renaissance  chimney-piece,  by  Hugues 
Lallement,  16th  century,  representing  Actaeon  transformed  into 
a  stag  by  Diana,  whom  he  has  surprised  in  the  act  of  bathmg. 
(Subjects  from  the  myth  of  Diana  are  favourites  with  the 
French  Renaissance  artiste,  owing  to  the  influence  of  Diane 
de  Poitiers.)  From  Chaions-sur-Mame,  same  house  as  that  in 
Room  II.  Wall  A  (1779  and  1778),  Renaissance  classical  paint- 
ings, part  of  a  large  series   continued  elsewhere;  (1428)  fine 


40 


PARIS 


III. 


Renaissance  carved  cabinet  (Diana  and  Chimneras) ;  contrast 
this  and  neighbouring  Renaissance  work  with  the  mediaeval 
carvings  in  adjacent  rooms.  Wall  B  (6329),  quaint  old  Flemish 
tapestry,  representing  the  Angels  appearing  to  the  Shepherds  ; 
the  Nativity  ;  the  Adoration  of  the  Magi ;  and  the  Agony  in  the 
Garden.  Study  the  arrangement  of  all  these  figures,  which  are 
conventional,  and  will  reappear  in  many  other  examples  of 
various  arts.  Wall  C,  r  and  L  of  fireplace,  good  Renaissance 
wood-carving.    Wall  D,  fine  cabinets.    In  the  cases,  medals. 

Room  V,  to  the  side.  Deba«ed  Italian  and  SpanUh  work 
of  the  17th  and  i8th  centuries.  Centre,  Adoration  of  the  Magi, 
a  meretricious  Neapolitan  group  of  the  17th  century,  intended 
to  place  in  a  church  as  a  Christmas  berceau.  The  costumes  of 
the  Three  Kings,  representing  the  three  continents,  the  ruined 
temple  in  which  the  action  takes  place,  and  the  antique  statue 
in  the  background  of  the  Madonna  and  St.  Joseph,  should  all 
be  noticed.  Contemptible  as  a  work  of  art,  this  florid  composi- 
tion of  dolls  is  interesting  and  valuable  for  its  spirited  arrange- 
ment, and  for  the  light  it  casts  on  the  conception  of  the  subject. 
The  room  also  contains  other  similar  church  furniture  of  the 
17th  and  1 8th  centuries.  Observe  their  theatrical  tinsel  style 
and  their  affected  pietism,  as  contrasted  with  the  simplicity, 
naivete,  and  truth  of  earlier  periods.  Take,  as  an  extreme 
example  of  this  tendency,  the  relief  of  the  Annunciation  on 
Wall  D,  to  the  R  of  the  entrance  door,  and  compare  it  with 
examples  of  the  same  subject  in  other  rooms  of  the  collection. 
Wall  B,  facing  the  entrance,  good  case  of  miscellaneous  wood- 
work containing  excellent  Spanish  art  of  this  bad  period — a 
Last  Supper,  a  St.  Francis  receiving  the  Stigmata,  a  Massacre 
of  the  Innocents,  the  Faint  of  St  Catherine,  St.  Antony  the 
Abbot,  St.  Antony  of  Padua  carrying  the  infant  Christ,  and 
other  figures.  A  large  gilt  Ubemacle,  on  Wall  C,  also  contains 
a  debased  figure  of  St  Anthony  of  I'adua,  from  an  altar  dedi- 
cated tr  the  Saint  Identify  as  many  of  these  saints  as  possible, 
and  iemember  their  symbols. 

We  now  quit  the  older  suite  of  apartments,  and  enter  a  large 
central  glass-covered  court— Room  VI,  entirely  modern.  The 
Corridor  is  occupied  by  early  altar  paintings,  for  the  most 
part  of  little  value.    Notice  on  the  L,  by  the  staircase  (1701)1 


n. 

a 

N 
di 
til 

P< 

m 

s) 
st 

pi 
tc 
a 
tl 
A 
\ 
J 
a 
tl 
tl 
ii 
\ 
a 
s 
0 
c 

G 

c 
c 

t 

0 

t 
« 

f 

( 

f 

A 
] 


■i^' 


JW 


F?^ 


III. 

r.'is) ;  contrast 
the  mediaeval 
It  old  Flemish 
le  Shepherds ; 
:  Agony  in  the 
ires,  which  are 
■  examples  of 
d  Renaissance 
ises,  medals. 
(panish  work 
in  of  the  Magi, 
itury,  intended 
le  costumes  of 
Its,  the  ruined 
antique  statue 
!ph,  should  all 
lorid  composi- 
irited  arrange- 
of  the  subject, 
trniture  of  the 
:al  tinsel  style 
the  simplicity, 
is  an  extreme 
inunciation  on 
impare  it  with 
the  collection. 
Ilaneous  wood- 
bad  period — a 
ta,  a  Massacre 
St.  Antony  the 
nt  Christ,  and 
'',  also  contains 
an  altar  dedi- 
nts  as  possible, 

d  enter  a  large 
nodern.  The 
,  for  the  most 
taircase  (1701), 


"•] 


THE  LEFT  OR  SOUTH  BANK 


41 


a  Giottesque  Madonna  and  Child— Florentine,  15th  century. 
Near  it  (1666),  two  ova!  panels,  representing  the  Annunciation, 
divided  (as  frequently  happens  with  this  subject)  into  two  dis- 
tinct portions,  and  probably  flanking  a  doorway  in  their  original 
position— Italian,  14th  century.    All  the  paintings  on  this  wall, 
mostly  unsatisfactory  as  works  of  art,  are  valuable  for  their 
symbolism  and  the  light  they  throw  on  the  evolution  of  their 
subjects.     For  example  :  (1676),  between  the  Annunciation 
pictures,  represents  the  distribution  of  holy  wine  which  has 
touched  the  relics  (I  think)  of  St,  Hubert.    Further  on,  we  have 
a  group  of  six  Apostles  ;  beginning  from  the  R,  St.  Peter  with 
the  keys,  St  John  Evangelist  with  the  cup  and  serpent,  St 
Andrew  with  his  cross,  St.  Bartholomew  with  his  knife,  St 
James  the  Greater  with  the  pilgrim's  staff  and  scallop,  and  St. 
James  the  Less  with  a  crosier  and  book.    R  of  the  staircase  is 
a  stone  figure  of  St  Denis  bearing  his  head,  French,  1 5th  cen- 
tury ;  also,  a  good  statue  of  the  Madonna,  a  little  later.    Above 
the  doorway,  R,  are  portions  of  a  large  Spanish  altar-piece  ; 
in  the  centre,  the  Crucifixion  ;  extreme  R,  Assumption  of  the 
Virgin,  etc.   Beyond  it  comes  the  continuation  of  the  tabernacle 
already  noticed,  containing  the  six  remaining  Apostles,  with  the 
symbols  of  their  martyrdom.    Next,  a  fine  Spanish  altar-piece 
of  the  15th  century,  from  a  church  of  St.  Martin  ;  in  the  centre, 
St.  Martin  dividing  his  cloak  with  the  beggar  ;  round  it  various 
other  subjects,  among  them   St.   Antony  with  his  pig,  St. 
Stephen,  in  deacon's  robes,  with  the  stones  of  his  martyrdom, 
St.  Jerome  in  the  desert  beating  his  bosom  with  a  flint  before 
the  crucifix,  St.  Francis  displaying  the  stigmata  or  five  wounds 
of  Christ,  St.  Paul  the  hermit  with  his  lion,  etc.    R,  towards 
the  courtyard,  a  fine  figure  of  Adam  from  St.  Denis,  a  splendid 
example  of  the  best  French  nude  sculpture  of  the  14th  century. 
We  now  enter  the  covered  courtyard  or  Room  VI  proper, 
filled  with  fine  examples  of  French  mediaeval  sculpture.    Several 
of  the  objects  bear  labels  sufficiently  descriptive.    I  will  there- 
fore only  call  attention  to  a  few  among  them.    Wall  D,  two 
wooden  Flemish  statues  (Our  Lady  and  St  John  at  Calvary), 
R  and  L  of  the  doorway  ;  (417)  carved  marble  monument  of  the 
loth  or  iith  century;  very  fine  workmanship,  with  distinct 
reminiscences  of  the  antique.     Wall  A,  ^Magnificent  stone 


fe^Sstei^     **"* 


Jw 


mm 


42 


PARIS 


[II. 


11.1 


frieze  or  reredos,  originally  gilt  and  coloured,  representing  the 
History  of  St.  Benedict,  from  St.  Denis  ;  in  the  centre.  Baptism 
in  Jordan  (compare  the  relief  of  the  same  subject  in  Notre- 
Dame) ;  R  and  :.,  preaching  and  miracles  of  St.  Benedict  (over- 
throw of  idols,  cure  of  a  dying  woman).    Middle  of  wall  (6328), 
fine  Italian  tapestry,  i6th  century,  representing  the  Adoration 
of  the  Magi ;  observe  the  attitude  of  the  kings,  together  with 
the  ox  and  ass  in  the  background,  invariable  concomitants  of 
the  Nativity  in  art.    Beneath  (728),  early  wooden  Madonna 
(13th  century,  Auvergne),  with  Byzantine  aspect.     Beautiful 
Romanesque  capitals— Creation  of  Eve,  etc.     Wall  B  *(237), 
exquisite  stone  frieze  or  reredos  from  the  church  of  St.  Gemier, 
about  1259,  much  mutilated,  but  originally  one  of  the  most 
perfect  specimens  of  French  13th  century  carving  ;  it  still  be- 
trays traces  of  colour.    In  the  centre.  Crucifixion,  with  Virgin 
and  St.  John  :  on  either  side  (as  at  Notre-Dame),  the  Church, 
with  cross  and  chalice,  and  the  Synagogue,  with  eyes  blinded  : 
then,  R  and  L  of  cross,  St.  Peter  and  St.  Paul :  beyond  them, 
Annunciation  and  Visitation  :  finally,  L,  St.  Ouen,  uncle  of  St. 
Germer,  cures  a  wounded  warrior ;  R,  St.  Germer  asks  leave  of 
King  Dagobert  to  found  the  Abbey  from  which  this  came. 
Above  it  (509),  exquisitely  grotesque  relief  of  the  Resurrection 
with  sleeping  Roman  soldiers,  one  of  a  set  in  alabaster,  French 
14th  century  (500  to  512),  all  of  which  deserve  to  be  inspected ; 
meanings  of  all  are  obvious  except  (501)  St.  Ursula.     Still 
higher,  fragment  cf  the  original  Last  Judgment  on  the  central 
west  door  of  Notre-Dame,  Paris,  before  the  restoration— inter- 
esting as  showing  the  grounds  on  which  VioUet-le-Duc  pro- 
ceeded ;  (6322),  tapestry.  Arras,  isth  century,  various  scriptural 
subjects,  confused,  but  decipherable.    Beneath  it,  L,  ♦beautiful 
stone  relief  (reredos)  of  the  legend  of  St.  Eustace,  from  the 
chuich  of  St.  Denis— a  fine  French  work  of  the  14th  century. 
In  the  centre.  Crucifixion  ;  extreme  L,  St.  Eustace,  hunting,  is 
converted  by  the  apparition  of  the  Christ  between  the  horns  of 
the  st.ig  he  is  pursuing  ;  further  R,  his  baptism,  nude,  in  a  font,  as 
in  all  early  representations  ;  still  further  R,his  trials  and  history; 
while  he  crosses  a  river  with  one  of  his  children,  a  wolf  seizes  one, 
while  a  lion  devours  the  other  ;  last  of  all,  reunited  miraculously 
with  his  family,  he  and  they  are  burned  alive  as  martyrs  by  the 


Emp 

lows. 

Next 

subjc 

thes 

Gyre 

inH 

reali 

mon 

tecti 

und( 

rere( 

and 

inti 

and 

Flot 

scri] 

(S«3 

Utt 

iStI 

witl 

the 

for 

relii 

thei 

full 

mo' 

cen 

am 

ox 

mo 

a  1 

car 

Be 

Ex 

(A 
Se 
al 


j.ifes^S-Steii 


mi.^m:-- 


t^" 


•*^m 


[n. 

•resenting  the 
ntre,  Baptism 
ect  in  Notre- 
encdict  (over- 
»f  wall  (6328), 
the  Adoration 
together  with 
icomitants  of 
[en  Madonna 
ct.  Beautiful 
^all  B  *(237), 
)f  St.  Germer, 

of  the  most 
g  ;  it  still  be- 
ll, with  Virgin 
,  the  Church, 
eyes  blinded  : 
beyond  them, 
I,  uncle  of  St. 

asks  leave  of 
:h  this  came. 
;  Resurrection 
}aster,  French 
be  inspected ; 
Ursula.  Still 
>n  the  central 
>ration — inter- 
et-le-Duc  pro- 
ious  scriptural 
,  L,  '^beautiful 
ace,  from  the 

14th  century, 
ce,  hunting,  is 
in  the  horns  of 
ie,  in  a  font,  as 
Is  and  history; 
volf  seizes  one, 
d  miraculously 
martyrs  by  the 


11] 


THE  LEFT  OR  SOUTH  BANK 


43 


Emperor  Trajan,  in  a  brazen  bull.    Observe  naif  boy  with  bel- 
lows.    The  whole  most  delicately  and  gracefully  sculptured. 
Next,  coloured  stone  relief  of  the  Passion-French  14th  century ; 
subjects,  from  R  to  L  :  the  kiss  of  Judas  (observe  Peter  drawmg 
the  sword) ;  Flagellation  ;  Bearing  of  the  Cross,  with  Sinum  of 
Gyrene ;  Deposition  in  the  Tomb ;  Resurrection  ;  and  Christ 
in  Hades,  delivering  Adam  and  Eve  from  the  jaws  of  death, 
realistically  represented  here  and  elsewhere  as  the  mouth  of  a 
monster  ;  notice  in  this  work  the  colour  and  the  Gothic  archi- 
tecture  and  decoration  of  the  background,  which  help  one  to 
understand  features  that  are  missing  in  many  other  of  these 
reredoses.    Then,  stone  relief  of  the  Annunciation,  Visitation, 
and  Nativity,  very  simply  treated  :  notice  the  usual  ox  and  ass 
in  the  manger.    Above  it,  •(4763),  good  mosaic  of  the  Madonna 
and  Child  with  adoring  angels,  by  Davide  Ghirlandajo,  of 
Florence,  placed  by  the  President  Jean  de  Ganay  (as  Ae  m- 
scription  attests)  in  the  church  of  St.  Merri  at  Pans.    Wall  C 
(S13-518),  interesting  alabaster  reliefs  of  the  Passion,  French, 
14th  century.   Between  them.  Coronation  of  the  Virgin,  French, 
icth  century.    (725)  Good  wooden  figure  of  St.  Louis,  covered 
with  fleur-de-lis  in  gold,  from  the  Sainte  Chapelle.    [Here  is 
the  door  which  leads  to  the  Musde  des  Thermes.    Pass  it  by 
for  the  present.]     Beyond  it,  continuation  of  the  alabaster 
reliefs  (514  and  517).  etc. :  examine  them  closely.    Between 
them  (435),  Circumcision,  in  marble,  early  iSth  century,  French 
full  of  character.    Beneath  it  (429,  etc.),  admirable  figures  of 
mourners,  from  the  tomb  of  Philippe  le  Hardi,  at  Dijon,  14th 
century.   Wall  D.  again  (1291),  terra-cotta,  coloured :  Madonna 
and  St.  Joseph,  with  angels,  adoring  the  Child  (child  missing), 
ox  and  ass  in  background ;  R,  Adoration  of  Magi ;  notice  once 
more  the  conventional  arrangement ;  l,  Marriage  of  the  Virgin, 
a  high  priest  joining  her  hand  to  Joseph's,  all  under  Gothic 
canopies,    15th  century,   from  the  chapel  of  St.  Eloy,  near 
Bemay,  Eure.    I  omit  many  works  of  high  merit. 

The  centre  of  this  room  is  occupied  by  several  good  statues. 
Examine  e  xh ;  the  descriptive  labels  are  usually  sufficient. 
(A  noble  *St.  Catherine ;  St.  Barbara  with  her  tower ;  St. 
Sebastian,  pierced  with  the  holes  where  the  arrows  have  been  ; 
a  beautiful  long-haired  wooden  Madonna  ;  a  fine  [Pisan]  Angel 


#*»■ 


tmmmaiiUA 


I 

it   » 


44 


PARIS 


[II. 


t 


of  the  Annunciation,  in  wood,  etc.)  Also,  several  excellent 
figures  of  Our  Lady.  The  large  part  played  by  the  Madonna 
in  this  Room,  indeed,  is  typical  of  her  importance  in  France, 
and  especially  in  Paris,  from  the  13th  century  onward.  The 
church  of  Notre-Dame  is  partly  a  result,  partly  a  cause,  of  this 
special  cult  of  the  Blessed  Virgin. 

Room  VII  (beyond  the  corridor,  a  modern  covered  court- 
yard).—Tapestries  and  textile  fabrics,  interesting  chiefly  to 
ladies.  On  Wall  A,  and  others,  Flemish  tapestry,  representing 
die  History  of  Bathsheba,  much  admired  and  very  ugly ;  com- 
pare it  v/ith  the  tapestry  of  the  Lady  and  the  Unicorn,  to  be 
visited  later  in  Room  III,  upstairs,  contrasting  them  as  models 
of  what  such  work  should  and  should  not  be.  Wall  B,  admir- 
able Renaissance  relief  of  the  Cardinal  Virtues.  Above  it,  a 
good  Madonna,  and  figures  of  Grammar  and  Astronomy. 
Wall  C,  Caryatid  of  inferior  art,  French,  i6th  century.  ''^(448), 
Admirable  group  of  the  Three  Fates,  attributed  to  Germain 
Pilon,  the  great  French  sculptor  of  the  i6th  century,  whom  we 
shall  meet  again  at  the  Louvre — a  fine  specimen  of  the  plastic 
art  of  the  Renaissance,  said  to  represent  Diane  de  Poitiers  and 
her  daughters.  Below  **(447),  exquisite  Renaissance  bas-relief 
of  the  huntress  Diana,  of  the  School  of  Jean  Goujon,  again  in 
allusion  to  Diane  de  Poitiers.  (478)  Good  mask  of  the  same 
epoch.  (251)  Virgin  and  Child,  meretricious  ;  in  the  decadent 
style  of  the  i6th  century  ;  very  French  in  type,  foreshadowing 
the  Louis  XV  spirit — the  Madonna  resembles  a  little-reputable 
court  lady.  Wall  D  (463,  etc.).  Judgment  of  Solomon,  Solo- 
mon and  the  Queen  of  Sheba,  Annunciation,  and  other  reliefs 
in  the  florid  and  least  pleasing  French  style  of  the  i6th  and 
17th  centuries.  Table  by  the  doorway  **(449),  exquisite  small 
marble  statue  of  the  Deserted  Ariadne  (perhaps  Diane  de 
Poitiers),  in  the  best  Renaissance  manner,  probably  by 
Germain  Pilon :  found  in  the  Loire,  near  Diane's  chdteau 
of  Chaumont.  Beside  it,  three  sleeping  Venuses,  one  of  which 
is  also  said  to  be  Diane  de  Poitiers,  the  goddess  of  the  Renais- 
sance in  Paris.  L  of  doorway  (457),  singular  marble  relief  of 
Christ  and  the  Magdalen  after  the  Resurrection  (Noli  me 
tangere) ;  the  Saviour  strangely  represented  (as  often)  in  a 
gardener's  hat  and  with  a  spade;  in  the  background,  angels 


II.] 

by  tl 
centi 
relief 
ment 
Josej 
duno 
R( 
I.  of 
Cupi 
natic 

(459; 

i6th 

men 

smal 

daB 

of  tl 

Ado 

Fret 

dale 

-h« 

and 

chui 

tatic 

com 

shei 

bacl 

St.] 

the 

the 

155! 
the 
and 
On 
tap* 
mo£ 
R 
turj 


[11. 

several  excellent 
by  the  Madonna 
ance  in  France, 
^  onward.  The 
^  a  cause,  of  this 

1  covered  court- 
esting  chiefly  to 
try,  representing 
very  ugly ;  com- 

Unicorn,  to  be 

them  as  models 
Wall  B.  admir- 
es. Above  it,  a 
ind  Astronomy, 
entury.  **(448), 
ited  to  Germain 
:ntury,  whom  we 
len  of  the  plastic 
:  de  Poitiers  and 
Issance  bas-relief 
joujon,  again  in 
ask  of  the  same 

in  the  decadent 
;,  foreshadowing 
I  little-reputable 
'  Solomon,  Solo- 
md  other  reliefs 
of  the  i6th  and 
I,  exquisite  small 
haps  Diane  de 
-,  probably  by 
Diane's  chAteau 
es,  one  of  which 
)s  of  the  Renais- 
marble  relief  of 
iction  (Noli  me 

(as  often)  in  a 
kground,  angels 


>•■] 


THE  LEFT   OR  SOUTH   BANK 


45 


"';  t 


by  the  empty  sepulchre ;  Flemish,  florid  style  of  the  i6th 
century.  Beside  it  (467  and  468),  two  exquisite  Renaissance 
reliefs  of  Venus.  In  front  of  it,  on  the  table  ♦(479).  Entomb- 
ment, with  the  body  of  Christ  placed  in  the  sarcophagus  by 
Joseph  of  Arimathea  and  Nicodemus— portraits,  I  think,  of  the 

donors. 

Room  VIII  —Textile  fabrics  and  ecclesiastical  robes.  Wall  B, 
1.  of  door  (487),  pretty  but  meretricious  little  group  of  Venus  and 
Cupids,  with  grapes,  French  style  of  the  17th  century ;  the 
national  taste  still  more  distinctly  showing  itself.    R  of  door 
(459).  in  two  separate  figures,  a  quaint  Annunciation— French, 
i6th  century,  frankly  anachronistic.    Close  by  (464),  the  Judg- 
ment of  Solomon,  same  school  and  period.    Above  (563),  clever 
small  alabaster  group  of  the  Rape  of  the  Sabines,  after  Giovanni 
da  Bologna.  These  all  stand  on  a  handsome  French  carved  chest 
of  the  i6th  century.    Wall  C,  greatly  worn  altar-relief  of  the 
Adoration  of  the  Magi,  from  the  chapel  of  the  Chateau  d'Anet, 
French  Renaissance,  16th  century.    Above  it  (446),  Mary  Mag- 
dalen, kneeling,  with  long  hair  and  the  alabaster  box  of  ointment 
—her  symbol  in  art— 15th  century,  curious.    At  the  back,  gilt 
and  painted  figures  of  the  Holy  Trinity,  from  the  demolished 
church  of  St.  Marcel  at  Paris,  17th  century.    Similar  represen- 
tations of  the  Trinity,  showing  the  three  Persons  thus,  are 
common  in  Itali  n  art.    Further  on  (493).  good  figure  of  a 
shepherd,  French,  i6th  century.    Wall  A  (266),  curious  altar 
back,  Herod  ordering  the  Massacre  of  the  Innocents.     (267) 
St.  Eustace  crossing  the  river  (see  Room  VI)  with  the  lion  and 
the  wolf  seizing  his  children.    A  very  different  treatment  from 
the  previous  one.    (291)  A  lintel  of  a  chimney,  Flemish,  dated 
155s  ;  centre,  a  river  god ;  L  and  R,  pelican  and  eagle  ;  between 
the  figures,  Faith,  Hope,  Charity  and  Prudence.  (273)  Madonna 
and  Child  (Notre-Dame  de  I'Esp^rance,  throned  on  an  anchor). 
On  the  wall,  far  L,  interesting  piece  of  French  14th  century 
tapestry,  with  a  legend  of  St.  Marcel  and  St.  John  Evangelist, 
most  naively  represented. 

Room  IX.— State  coaches  and  Sedan  chairs  of  the  17th  cen 
tury,  as  ugly  as  can  be  imagined.    They  need  not  detain  you. 

The  staircase  to  the  first  floor  is  in  the  Corridor  to  Room 


46 


PARIS 


[II. 


II. 


VI.  Oljserve  the  staircase  itself,  in  carved  wood,  bearing  the 
arms  of  France  and  Navarre,  and  also  the  crowned  initials  of 
Henri  IV  and  Marie  de  Mddicis.  It  was  formerly  in  the  old 
Chambre  des  Comptes  of  Paris,  and  was  re-erected  here  at  the 
installation  of  the  Museum. 


__        comnDOR  ,  .1 


MUSEE  DE  CLUNY 

FIRST  FLOOR 


The  corridor  above  contains  arms  and  armour.  At  the  head 
of  the  staircase  (742),  very  quaint  Magdalen  in  wood  with  the 
box  of  ointment ;  German  in  style,  15th  century  ;  observe  her 
long  hair,  here  twisted  and  plaited  with  German  neatness. 
(1466  and  1468)  Renaissance  cabinets  in  ebony. 

Room  I.  —Gallery,  looking  down  on  the  courtyard  of  Room 
VI,  below.  Wall  D,  by  which  you  enter ;  tiles,  French  Renais- 
sance. Wall  C :  first  case,  blue  Flemish  stoneware.  Fine 
wrought-iron  gates,  gilt.  In  front  of  them,  female  Satyr,  French, 
i8th  century,  very  characteristic  of  the  national  taste ;  opposite 
it,  male  Satyr,  the  same.  Second  case  :  Palissy  ware,  French 
1 6th  and  17th  centuries.  This  fine  ware  is  full  of  Renaissance 
feeling.  Notice  particularly  (3140).  a  Sacrifice  of  Abraham ; 
(3145)  the  Baptism  in  Jordan,  conventional  treatment ;  (3139) 
Judith  ind  Holofemes,  with  several  other  scriptural  scenes  in 


th< 
th( 
ob 
di! 
El 
sii 
sc 
N 
nt 
H 
of 
L 
sa 

S< 
fa 

fil 
w 
E 
E 

si 
b 
ti 
ii 

P 
« 
I 
J 
P 
n 
t 
I 
ii 

( 
t 
( 

I 
< 


#^ 


[II. 

kkI,  bearing  the 
iwned  initials  of 
iierly  in  the  old 
cted  here  at  the 


11.] 


THE  LEFT  OR  SOUTH  DANK 


CLUNY 

OR 


ur.  At  the  head 
n  wood  with  the 
jry ;  observe  her 
srman  neatness. 

irtyard  of  Room 
;,  French  Renais- 
toneware.  Fine 
le  Satyr,  French, 
1  taste ;  opposite 
5sy  ware,  French 
I  of  Renaissance 
ce  of  Abraham ; 
reatment ;  (3'39) 
iptural  scenes  in 


.#»■ 


the  older  spirit ;  intermingled  with  these  are  classical  and  my- 
thological scenes,  displaying  the  growing  love  for  the  nude  ; 
observe  particularly  (31 19).  a  Venus  with  Cupids  ;  and  anolher 
dish  below  it,  unnumbered,  same  subject ;  also,  a  Creation  of 
Eve;  (3131)    Susanna  and  the  Elders,  and  other  scenes  of 
similar  character.    Observe  that  while  the  early  work  is  purely 
scriptural  or  sacred,  the  Renaissance  introduces  classical  subjects. 
Note  too  the  frequent  scenes  of  the  Baptism  in  the  same  con- 
nection.   Centre  (3102),  beautiful  vase  with  lid,  of  the  period  of 
Henri  II.    Study  all  the  Palissy  ware.    Wall  B,  French  pottery 
of  the  1 8th  century,  exhibiting  the  rapid  decline  in  taste  under 
Louis  XIV  and  XV,  especially  as  regards  colour.     The  most 
satisfactory  pieces  are  the  blue  and  while  dishes  with  royal  mono- 
grams, arms,  etc.  Second  case  :  Rouen  ware  of  the  i8th  century, 
far  superior  in  style  and  tone  to  the  preceding.    Good  nude 
figure  of  Venus.    Wall  A,  Nevers  pottery,  delicate  blue  and 
white  ;  (3338)  figure  of  a  page,  to  support  a  lamp.    Last  case  : 
Dutch  pottery,  Delft,  i8th  century,  exhibiting  the  strong  domestic 

Dutch  tendency. 

ROOM  H.-Also  galleries,  surrounding  a  courtyard.  Exqui- 
site Italian  Renaissance  pottery.  Wall  B,  R  of  entrance, 
beautiful  Italian  specimens  of  Faenza  ware,  isth  and  16th  cen- 
turies (whence  the  word /«>««) ;  these  should  be  closely  studied 
in  detail.  (2811)  Quaint  dish  with  Diana  as  archer  ;  beside  it, 
portraits.  (2824  and  2825)  Decorative  plaques  with  heads  of 
women.  (3949)  St.  George  and  the  Dragon  in  green  pottery. 
Behind  it,  plate  with  admirable  portrait.  In  the  same  case, 
Judith  receiving  the  head  of  Holofernes ;  (3024)  Hercules 
playing  the  lyre  to  entice  Auge.  Wall  C,  first  case,  Deruta 
and  Chaflfagiolo  ware  of  the  16th  century.  Exquisite  decora- 
tive dishes  and  plaques  ;  (2814)  Actteon  changed  to  a  stag  by 
Diana.  (2849)  Susanna  and  the  Elders.  (2887)  St.  Jerome 
in  the  desert,  with  his  lion.  (2895)  The  doubting  Thomas. 
(2823)  Another  Actaeon.  Observe  frequent  repetition  of  cer- 
tain scenes.  Fine  plates  with  arms  of  Medici  Popes,  etc. 
Second  case :  Deruta  ware,  still  more  splendid  specimens, 
many  of  them  with  remarkable  lustre.  (2894)  Madonna  and 
Child,  with  infant  St.  John  of  Florence.  Other  plates  with 
Mercury,  a  sphinx,  a  lion,  the  huntress  Diana,  a  Moor's  head, 


J 


4« 


IRAKIS 


[II. 


portraits  and  decorative  designs.  Examine  in  detail.  Wall 
D,  first  case,  Casteldurantc  pnd  Gubbio  ware,  i6th  century 
^3007)  Manius  Curtius  leaping  into  the  Forum.  (3015)  Cru- 
cifixion,  with  the  sun  and  the  moon  darkened.  (3004)  Da'da- 
lus  and  the  Minotaur.  (3008)  Fine  conventional  design.  Other 
plates  have  heads  of  St.  Paul  and  mythological  persons.  (2803) 
a  quaint  Temptation  of  St.  Antony.  (j8i8)  Leda  and  the 
Swan,  etc.  Second  case  :  Urbino  ware,  17th  century.  Head 
of  Raphael,  and  delicate  Raphaelesque  scenes,  instinct  with 
the  later  Renaissance  feeling.  (2961 )  Ferseus  and  Andromeda. 
(3064)  Expulsion  from  Paradise  ;  on  either  side.  Temptation, 
and  Adam  eating  the  fruit.  (2872)  a  Baptism  in  Jordan. 
Notice  again  the  mixture  of  religious  and  mythological  scenes, 
with  a  preference  for  those  where  the  nude  is  permissible- 
Judith  and  Holofernes,  Orpheus,  etc.  Wall  A,  fine  Florentine 
terra-cotta  bust  of  the  young  St  John,  patron  saint  of  the 
city.  More  Urbino  ware,  to  be  ca  '"jlly  examined.  The 
greater  part  of  this  wall,  however,  cupied   by  »*Dell« 

Robbia  ware,  glazed  Florentine  maj  the  isth  and  i6th 

centuries.  (2794)  Fine  figure  of  St  Michael.  (2799)  Martyr- 
dom of  St  Catherine,  the  wheels  of  her  torture  broken  by 
angels.  Above  it.  Madonna  adoring  the  Child  ;  observe  in 
this  and  many  other  cases  the  beautiful  setting  of  fruit  and 
flowers,  characteristic  of  the  Delia  Robbias.  Beneath,  no 
number,  the  Beheading  of  St  Catherine  ;  in  the  background, 
angels  conveying  her  soul  to  Heaven.  (2795)  The  Infant  St. 
John,  patron  Saint  of  Florence.  (2793)  Temperance,  with 
flagon  and  patera.  Then,  more  Urbino  ware,  very  fine  examples 
of  the  end  of  the  i6th  century ;  above  them,  touching  Ma- 
donna and  Child,  Delia  Robbia.  Wall  B,  again,  Castello  ware, 
and  Venetian  pottery,  15th,  16th  and  17th  centuries.  Apothe- 
cary's jars,  plaques,  etc.,  extremely  beautiful. 

Room  III.— A  long  corridor.  Wall  A,  is  entirely  occupied 
by  the  **magnificent  suite  of  six  early  French  tapestries, 
known  as  "  The  Lady  and  the  Unicom  "  (symbol  of  chastity), 
the  finest  work  of  its  sort  ever  executed.  They  come  from  the 
Chateau  de  Boussac,  and  belong  to  the  second  half  of  the  i  sth 
century.  The  Lady  is  represented  engaged  in  various  domes- 
tic pursuits  of  a  woman  of  rank  of  her  time,  always  accom- 


n] 
pan 

l()V( 

St. 
R    ( 

Cat 

wh( 

L 

Cat 

thin 

som 

hen 

th9 

its  I 

ceil 

stai 

ate! 

Pre 

to  1 

woo 

cem 

dre! 

peri 

woe 
thei 

(82i 

croi 
the 
tast 
Cuj 
caft 
Ara 
car^ 
liefs 
wor 
Rer 
Lint 
tail, 
con 


CM. 

[Ictnil    Wall 
i6th  century 

(3015)  Cru- 
3004)  Dxda- 
esign.  Other 
■sons.  (2803) 
;.eda  and  the 
ntury.  Head 
instinct  with 
1  Andromeda. 
I,  Temptation, 
n  in  Jordan, 
logical  scenes, 
permissible — 
ine  Florentine 
1  saint  of  the 
.mined.     The 

by  **Della 
iSth  and  i6th 
2799)  Martyr- 
re  broken  by 
;  observe  in 
;  of  fruit  and 

Deneath,  no 
:  background, 
'he  Infant  St. 
iperance,  with 
r  fine  examples 
touching  Ma- 
Castello  ware, 
ries.    Apothe- 

iirely  occupied 
ich  tapestries, 
>1  of  chastity), 
come  from  the 
df  of  the  15th 
rarious  domes- 
Uways  accom- 


1.1 


THE   LEFT   OK  SOUTH   BANK 


49 


p.nnied  by  the  beast  of  chastity.  The  colour  is  inexpressibly 
lovely.  AlK>ve  it,  similar  tapestry  representing  the  History  of 
St.  Stephen,  and  the  Discovery  of  his  Relics.  Along  Wall  A, 
R  of  entrance  door  (774),  crowned  wooden  figure  of  St. 
Catherine,  holding  the  sword  of  her  martyrdom,  her  broken 
wheel  at  her  feet,  and  trampling  upon  the  tyrant,  Maximian. 
L  of  door,  good  early  Madonna  and  Child ;  another  St. 
Catherine ;  and  (760)  Magdalen,  described  (erroneously,  I 
think)  as  Pandora.  Wall  B  is  mostly  occupied  by  a  hand- 
some French  Renaissance  chimney-piece(  16th  century), brought 
here  from  a  house  at  Rouen,  and  representing  the  history  of 
th9  Casa  Santa  at  Loreto, — its  transport  over  the  sea  by  angels, 
its  reception  by  the  Faithful,  and  worship  in  front  of  it.  The 
ceiling  above  also  comes  from  the  same  room.  Wall  C,  small 
stained-glass  windows  of  various  ages.  Examine  them  separ- 
ately. Wall  D,  large  enamelled  plaques  brought  from  Francois 
Premier's  Chateau  of  Madrid,  in  the  Bois  Ic  Boulogne,  stated 
to  be  the  largest  enamels  in  existence.  Beneath  them,  fine 
wooden  statue  of  the  Virgin  and  infant  Christ,  German  i  sth 
century,  very  characteristic  in  its  flat  features,  as  well  as  in  the 
dress,  and  treatment  of  the  hair,  of  the  German  style  of  the 
period.  Compare  it  with  French  Madonnas  below.  The 
Mreens  towards  Wall  A  contain  specimens  of  fine  Renaissance 
wood-carving.  Contrast  the  finish  and  style  of  these  with 
their  Gothic  predecessors.  Notice,  near  the  chimney-piece 
(838),  an  Annunciation,  with  God  the  Father,  wearing  a  triple 
crown  (like  the  Pope),  and  the  Holy  Spirit  descending  upon 
the  Madonna.  Next  screen,  various  classical  scenes  in  the 
taste  of  the  Renaissance— Judgment  of  Paris,  Venuses  and 
Cupids,  etc.  Much  fine  nude  Renaissance  detail.  Centre 
case,  old  glass  ;  notice,  in  particular  (4763),  fine  13th  century 
Arab  mosque-lamp.  Further  on,  more  Renaissance  wood- 
carvinjj— Leda  and  the  Swan  in  very  high  relief:  low  re- 
liefs of  classical  subjects  and  decorative  panels.  All  these 
works  should  be  closely  studied  as  typically  illustrative  of 
Renaissance  feeling.  Ca«e»  by  the  window  (wall  C ), 
Limoges  and  other  enamels,  too  numerous  to  treat  in  full  de- 
tail, but  many  of  them,  at  least,  should  be  closely  inspected  and 
comprehended  by  the  visitor.     Case  next  the  chimney-piece, 


i    \ 


\\\ 


_jt^-- 


50 


PARIS 


[11. 


old  raised  enamels  (nth  and  13th  centuries),  enamelled  gold 
reliquaries  for  containing  bones  of  Saints  ;  fine  crucifix,  etc. 
Notice  on  4497,  the  Flight  into  Egypt,  Peter  walking  on  the 
Sea,  the  Adoration  of  the  Magi,  and  the  Presentation  in  the 
Temple ;  on  4498,  the  Crucifixion,  and  the  Twelve  Apostles ; 
beneath,   4514,  enamelled   book-cover;   near  it.   Crucifixion, 
Adoration  of  the  Magi,  and  other  figures.    Identify  as  many  of 
these  as  possible,  and  observe  their  archaic  striving  after  effects 
too  high  for  the  artist.    S»!Cond  case  :  Limoges  enamels,  more 
modern  in  type  (15th  century) :  Madonna  holding  the  dead 
Christ,  Crucifixion,  Bearing  of  the  Cross,  and  other  scenes. 
Notice  particularly  (4575).  l'"le  triptych  with  a  Nativity,  Adora- 
tion of  the  Magi,  and  Circumcision,  in  all  of  which  observe 
the  conventional  treatment.    Third  case  :  Limoges  enamels  of 
the  High  Renaissance  (i6th  and  17th  centuries),  Raphaelesque 
in  spirit,  better  in  execution,  but  far  less  interesting ;  good  por- 
traits in  frames  ;  a  fine  Flagellation,  and  other  scenes  from  the 
Passion ;  above,  delicate  Tazzas.    Observe  in  particulai  (4628), 
the  Descent  into  Hell,  Christ  rescuing  Adam  and  Eve  and  the 
other  dead  from  Hades,  typically  Renaissance.    On  the  far 
side  of  the  case,  remote  from  window,  a  good  series  of  the 
Gospel  history,— Marriage  of  the  Virgin,  Annunciation,  Birth 
of  the  Virgin  (incorrectly  labelled  Nativity),  etc.    Last  cases: 
more  recent  enamels.    Among  the  best  are,  in  the  last  case  of 
all,  the  Expulsion  from  Paradise,  and  a  series  of  the  Gospel 
History ;  observe  particularly  (4650),  Christ  and  the  Magdalen, 
with  the  usual  curious  disguise  as  a  gardener.     I  recommend 
to  those  who  can  spare  the  time,  most  attentive  detailed  study 
of  the  subjects  and  treatment  in  all  these  enamels,  many  of 
which  throw  much  light  on  similar  themes  treated  by  other  arts 
in  the  same  collection.    Several  hours  should,  if  possible,  be 
devoted  to  them. 

Room  IV  contains  various  **  Mohammedan  potteries,  ex- 
quisitely decorative,  but  (owing  to  the  general  absence  of  figure 
subjects,  prohibited  by  Islam)  requiring  comparatively  little 
explanation.  Occasional  animal  forms,  however,  occur  in  the 
midst  of  the  usually  decorative  arabesque  patterns.  Wall  C, 
L  of  entrance,  charming  Rhodian  pottery  (made  by  Persian 
workmen),  in  prevailing  tones  of  blue  and  green,  with  the 


[11. 

enamelled  gold 
le  crucifix,  etc. 
walking  on  the 
>entation  in  the 
welve  Apostles; 
it,    Crucifixion, 
itify  as  many  of 
Ang  after  effects 
s  enamels,  more 
Dlding  the  dead 
d  other  scenes. 
Nativity,  Adora- 
if  which  observe 
oges  enamels  of 
>),  Raphaelesque 
sting ;  good  por- 
•  scenes  from  the 
particulai  (4628), 
and  Eve  and  the 
ice.    On  the  far 
tod  series  of  the 
nunciation.  Birth 
tc.    Last  cases  : 
n  the  last  case  of 
!s  of  the  Gospel 
id  the  Magdalen, 
r.    I  recommend 
ve  detailed  study 
inamels,  many  of 
ited  by  other  arts 
Id,  if  possible,  be 

tn  potteries,  ex- 
absence  of  figure 
mparatively  little 
;ver,  occur  in  the 
ittems.  Wall  C, 
made  by  Persian 
green,  with  the 


".] 


THE  LEFT   OR  SOUTH  DANK 


51 


wonderful  Persian  feeling  for  colour.  Wall  B,  Hispano- 
Moorish  lustre  ware,  the  most  exquisitely  beautiful  ever  manu- 
factured. The  second  case  contains  several  lovely  specimens. 
Wall  A,  Rhodian  ware  again.  Wall  D,  Persian.  The 
reader  must  examine  these  minutely  for  himself.  It  is  impos- 
sible to  do  more  than  point  out  their  beauty. 

Room  V.— Jewish  works  of  art  of  the  Middle  Ages,  interest- 
ing as  showing  the  wealth  ;  id  artistic  taste  of  the  mediaeval 
>  Hebrews— phylacteries,    seven-branched    candlesticks,    gold- 
I  smiths'  work,  etc.    (188;  Chimney-piece  (Christian)  from  an 
-  old  house  at  Le  Mans.    The  groups  represent  the  three  ages 
of  life :  right  and  left,  the  two  sexes— man,  armed  ;   woman, 
with  a  ball  of  wool. 

Room  VI.— Wall  C,  opposite  windows,  carved  chest  (1360), 
French,  17th  century,  with  figures  in  high  relief  of  the  Twelve 
Apostles.  The  paintings  above  it  (1704,  1707,  1714),  etc.,  are 
the  fronts  of  similar  chests,  Florentine,  15th  century.  Such 
boxes  were  commonly  given  to  a  bride  to  contain  her  trousseau 
and  household  linen.  For  instance,  one  (1710)  contains  the 
mythical  history  of  a  betrothal  and  wedding  (/lineas  and 
Lavinia).  The  others  have  in  many  cases  similar  appropriate 
subjects  from  classical  story.  (14SS)  Florentine  mosaic  cabinet, 
in  the  worst  taste.  Beyond  it,  other  cabinets  and  fronts  of 
wedding  chests.  This  room  also  contains  musical  instruments, 
interesting  as  illustrating  the  evolution  of  modern  form<:  Also, 
florid  Italian  inlaid  tables,  in  the  bad  expensive  tasie  of  the 
17th  century.     In  the  windows,  stained  glass. 

Room  VII.— Carved  oak  cabinets.  (1435)  Good  Flemish 
work  of  the  17th  century. 

Room  VIII.— (189)  Carved  chimney-piece,  similar  to  that  in 
the  Jewish  room,  and  from  the  same  house ;  marriage  scene, 
allegorical.  Carved  wooden  cabinets  and  portals,  all  interest- 
ing, but  requiring  little  description.  (1431)  Again  the  favourite 
Renaissance  device  of  Actaeon  and  Diana.  Carved  oak  bed,  of 
age  of  Francois  I",  with  hangings  of  the  same  period.  (1509) 
Good  panel  of  a  chair,  with  the  Presentation  of  the  Virgin  in 
the  Temple  by  Saints  Joachim  and  A;ina  ;  above.  Nativity ; 
then  Adoration  of  the  Magi,  and  Flight  into  Egypt ;  on  the 
front,  patron  saints  of  the  owners. 


1|i 


Lm^ 


52 


PARIS 


[n. 


Room  IX.— **Magnificent  collection  of  ivories  and  ebonies, 
all  of  which  the  spectator  should  examine  in  detail.    Nothing 
in  this  museum  is  more  interesting.     Notice,  for  example,  the 
beautiful  triptych**  (1081)  in  the  centre  of  the  first  caM  by 
the  window  of  Wall  D;  lower  tier,  Annunciation  ;  Shepherds  ; 
Joseph  and  the  Madonna,  with  the  babe  in  the  manger  ;  and 
Adoration  of  the  Magi ;  upper  tier,  Kiss  of  Judas,  Crucifixion, 
and  Christ  and  the  Magdalen  in  the  Garden  ;  beautiful  Italian 
work  of  the  14th  century.     L  of  it  •*(io88),  exquisite  coloured 
triptych  with  Madonna  and  Child  ;  L,  St.  Paul  (with  his  sword) 
and  St.  Catherine ;   R,  St.  Peter  and  the  Magdalen ;  notice 
their  symbols.    Several  small  ivories  in  the  same  case  should 
be  observed  carefully.    Below  the  large  triptych,  for  example, 
are  scenes  from  the  Passion  (noi  chronologically  arranged  in 
their  existing  order),  namely,  from  L  to  R,  Crown  of  Thorns, 
Scourging,  Resurrection,   Ascension,   Disciples    at    Emmaus, 
Apparition  to  the  three  Marys,  Peter  on  the  Sea,  and  Christ 
with  the  Magdalen  ;  very  naive  French  work  of  the  1 5th  century. 
(718)  Exquisite  little  wood-carving  of  the  Crucifixion,  with  scenes 
from  the  Passion  ;   Spanish,  i6th  century.    Above  it  (7227), 
comb,  with  Adoration  of  the  Magi ;  14th  century,  very  curious. 
The  next  case  contains  still  earlier  and  more  interesting  work. 
In  the  centre,  a  triptych  ;  lower  tier.  Adoration  of  the  Magi, 
Madonna  with  angels.  Presentation  in  the  Temple  ;  upper  tier. 
Bearing  the  Cross,  Crucifixion,  and  Descent  from  the  Cross  ; 
exquisite  French  work,  in  high  relief,  of  the  14th  century.     L  of 
it  (1082),  Scenes  from  the  Passion,  Last  Supper,  Agony  in  the 
Garden,  Kiss  of  Judas  (with  Peter  cutting  off  Malchus's  ear), 
Flagellation,  etc.      Each  compartment  here  consists  of  two 
subjects,  which  identify ;  charming  French  work  of  the  14th 
century.    Above  it  (1085  ^^^   '°86)»  secular  sc«.aes,  life  in  a 
garden— 14th  century.    R  of  the  triptych  (1065,  1063,  1066, 
1064),  legends  of  saints  ;  St.  Denis  beheaded  and  bearing  his 
head ;  Flagellation  of  an  unknown  Martyr,  who  takes  it  most 
comfortably  ;  St.  Peter,  crucified,  head  downward  ;  and  other 
episodes— charming  French  14th  century  work.    Examine  all 
the  pieces  in  this  case  carefully.    In  the  first  case,  towards  the 
centre  of  the  room,  early  ivory  carvings,  a  •consular  diptych 
of  the  5th  or  6th  century,  very  interesting  ;  and  other  works 


[II. 

I  and  ebonies, 
ail.    Nothing 

example,  the 
first  case  by 
;  Shepherds  ; 
manger ;  and 
,s,  Crucifixion, 
iautiful  Italian 
jisite  coloured 
■ith  his  sword) 
rdalen ;  notice 
le  case  should 
1,  for  example, 
ly  arranged  in 
wn  of  Thorns, 

at  Emmaus, 
iea,  and  Christ 
e  1 5th  century, 
on,  with  scenes 
)ove  it  (7227), 
fy  very  curious, 
teresting  work. 
1  of  the  Magi, 
(le  ;  upper  tier, 
jm  the  Cross ; 
century.  L  of 
,  Agony  in  the 
Malchus's  ear), 
onsists  of  two 
rk  of  the  14th 
L«.  lies,  life  in  a 
65,  1063,  1066, 
ind  bearing  his 

takes  it  most 
ird ;  and  other 
.  Examine  all 
ise,  towards  the 
onsular  diptych 
nd  other  works 


II.] 


THE  LEFT  OR  SOUTH  BANK 


53 


still  displaying  classical  influence.     (1035)  Byzantine,  Christ 
and  Saints.    (1049)  Death  of  the  Virgin  ;  fine  work  showing 
Byzantine  influence;   12th  century.      (1054)  Extremely  rude 
Northern   nth  century  ivory,  representing  scriptural  scenes, 
mingled  with  decorative  animals  treated  in  withy-band  fashion. 
(1038)  Fine  Italo-Byzantine  plaque  with  Crucifixion  and  Saints, 
the  name  of  each  inscribed  beside  him.    Central  case:  Ivory 
statuettes,  all  deserving  close  attention.    (1032)  Antique  Roman 
goddess.    (1037)  Fine  early  French  Madonna ;  loth  century. 
Behind    her  (1052),  beautiful    ivory  reliquary,  French,   12th 
century,  with  figures  of  Saints  ;  L,  the  personages  of  the  Adora- 
tion (/.ft,  the  Three  Kings)  bearing  their  gifts,  and  with  their 
names  inscribed  above  them  ;  r,  the  personages  of  the  Pre- 
sentation—Madonna,  Joseph,  Simeon.    Further  side  (1060), 
beautiful  coloured  ivory  coffer,  14th  century,  with  numerous 
scriptural  scenes,  easily  recognisable  ;  identify  them     Inspect 
also  the  ebony  cabinets,  of  which  1458,  time  of  Henri  IV. 
with  classical  scenes,  is  a  magnificent  Renaissance  example. 
By  Wall  A,  more  ebony  cabinets  and  carvings,  and  exquisite 
ivory  statuettes,  of  later  date,  among  which  notice  particularly 
(114O  a  Portuguese  Madonna;  (1163)  a  Spanish  St.  Peter; 
(1164)  Spanish  St.  Antony  of  Padua  ;  and  (i  167)  a  very  curious 
Peruvian  Good  Shepherd,  showing  distinct  traces  of  native  art, 
influenced  by  introduced  Spanish  feeling.    Further  to  the  R, 
good  classical  figures  of  the  later  Renaissance.     I  have  only 
indicated  a  few  of  the  most  interesting  among  these  exquisite 
carvings  ;  but  many  hours  may  be  devoted  to  this  room,  by 
those  who  can  afford  the  time,  with  great  advantage. 

Room  X.— Bronzes  and  Renaissance  metal  work,  mostly 
self-explanatory.  (193)  Chimney-piece  from  a  house  in  Troyes— 
French,  i6th  century;  Plenty,  surrounded  by  Fauns  and 
trophies.    Good  collection  of  keys,  knives,  etc. 

Room  Xl.-aoidsmith's  work  and  objects  in  the  precious 
metals.  Wall  A  (4988),  gold  altar-piece  of  the  Emperor  Henry 
II,  of  Germany,  with  Christ,  and  figures  of  Saints,  bearing  their 
names  above  them,  given  by  the  Emperor  to  Bale  Cathedral  in 
the  beginning  of  the  i  ith  century.  Central  case,  the  Querrazar 
find :  votive  offerings  of  crowns  of  the  eariy  Gothic  kings  of 
Spain,  the  largest  one  being  that  of  Reccesvinthus  (died  672), 


>   ' 


n 


34 


PARIS 


[II. 


discovered  near  Toledo.     The    rrowns  are  rude  Byzantine 
work  of  the  7lh  century,  inlaid  with  precious  stones.    The 
names  inscribed  below  them  were  probably  added  when  they 
were  made  into  votive  offerings.    Uninteresting  as  works  of  art, 
these  curious  relics  possess  great  value  as  specimens  of  the 
decadent  workmanship  of  their  period.    Most  of  the  other  ob- 
jects in  this  room  derive  their  importance  more  from  the  material 
of  which  they  are  composed  than  from  artistic  beauty,  or  even 
relative  antiquarian  importance.    Of  these  (4994),  in  the  case 
near  Wall  D,  represents  the  Last  Supper,  with  the  fish  which 
in  very  early  Christian  work  is  a  symbol  of  Christ.    Near  it, 
quaint  figures  of  the  four  Evangelists,  writing,  with  their  symbols. 
Other  symbols  of  the  Evangelists  in  the  same  case.    Quaint 
Nuremberg  figure  of  St.  Anne,  holding  on  her  knee  the  crowned 
Madonna,  and  a  little  box  to  contain  a  relic.    (5008)  Reliquary 
foot  of  a  Saint,  to  enclose  his  bones ;  it  bears  his    name- 
Alard     (4995)  Curious  figure  of  the  Madonna,  Limoges  work, 
very  Byzantine  in    aspect.      Other  cases  contain  crucifixes, 
monstrances,  and  similar  articles  of  church  furniture  m  the 
precious  metals,  mostly  of  early  date.    The  case  by  Wall  B  has 
CiUic  torques  and  Merovingian  jewellery. 

Return  to  Room  VIII,  and  enter  Room  XII  to  the  R.    It 
contains  bed  furniture  and  book-bindings.    (782)  Fine  Renais- 
sance Flagellation,  after  Sebastiano  del  Piombo. 
From  this  room  we  enter 

The  Chapel, 

a  small  apartment,  with  roof  sustained  by  a  single  pillar. 
Good  niches,  now  destitute  of  their  saints  ;  church  furniture  of 
the  Middle  Ages,  much  of  which  deserves  close  attention.  (708) 
Fine  wooden  altar-piece,  Flemish,  15th  century  :  centre,  the 
Mass  of  St.  Gregory,  with  Christ  appearing  bodily  in  the  Holy 
Sacrament ;  beneath  it,  adoring  angels ;  L  wing,  Abraham  avi 
Melchisedek,  frankly  mediaeval ;  R  wing,  the  Last  Supper  ;  an 
excellent  specimen.  Other  objects  are:  (726)  Stiff  early 
wooden  Madonna.  (723)  Crucifix,  Auvergne,  12th  century. 
(727)  St.  John.  End  wall.  Annunciation,  with  the  Madonna 
separated,  as  often,  from  the  Angel  Gabriel  by  a  vase  of  lilies. 
The  staircase  in  the  corner  leads  out  to  the  Qarden,  where 


[11. 

;  Byzantine 
tones.  The 
I  when  they 
works  of  art, 
mens  of  the 
le  other  ob- 

the  material 
uty,  or  even 

in  the  case 
tie  fish  which 
St.  Near  it, 
heir  symbols, 
ase.  Quaint 
!  the  crowned 
38)  Reliquary 

his  name — 
imoges  work, 
in  crucifixes, 
niture  in  the 
y  Wall  B  has 

to  the  R.  It 
Fine  Renais- 


11.] 


THE  LEFT  OR  SOUTH  BANK 


55 


single  pillar, 
h  furniture  of 
Mention.  (708) 
f  :  centre,  the 
ly  in  the  Holy 
Abraham  a.  i 
5t  Supper  ;  an 
6)    Stiff"  early 

1 2th  century. 

the  Madonna 
vase  of  lilies. 
Garden,  where 


are  several  fragments  of  stone  decoration.  Pass  through  the 
door,  and  traverse  Room  VI ;  the  opposite  door  leads  to 

Lea  Thermea. 

the  remains  of  the  old  Roman  palace.  The  scanty  remnant,  as 
its  name  indicates,  consists  entirely  of  the  baths  attached  to  the 
building.  The  masonry  is  massive.  Fragments  of  Roman 
altars  and  other  remains  found  in  Paris  are  arranged  round  the 
room.  The  descriptive  labels  are  sufficient  for  purposes  of 
identification. 

If  this  brief  survey  of  Cluny  has  succeeded  in  interesting  you 
in  mediaeval  art,  buy  the  official  catalogue,  come  here  often, 
and  study  it  in  detail. 

B.    THE  HILL  OF  STE.   GENEVlfeVE 

(PANTHfeON,  St.  6tIENNE-DU-M0NT.) 

["  High  places"  are  always  the  first  cemeteries  and  holy  sites 
—as  at  Montmartre  and  elsewhere.  But  the  nearest  rising 
ground  to  Old  Paris  is  the  slight  elevation  just  S.  of  Cluny, 
now  crowned  by  the  colossal  dome  of  the  Pantheon.  In 
Frankish  times,  this  hill  lay  quite  outside  the  city  ;  but  on  its 
summit  (just  behind  his  Palace  of  Les  Thermes),  Clovis,  after 
his  conversion  by  Ste.  Genevieve,  is  said  to  have  erected  a 
church  to  St  Peter  and  St.  Paul.  Here  Ste.  Qeaeviive  herself 
vas  buried  in  512  ;  and  the  chapel  raised  over  her  tomb  grew 
into  a  church— the  favourite  place  of  pilgrimage  for  the  inhabi- 
tants of  Paris.  The  actual  body  of  the  patron  sair'  was  en- 
closed, in  550,  in  a  magnificent  shrine,  executed  by  bt.  £loy,  the 
holy  blacksmith.  Throughout  the  Middle  Ages  this  church  and 
tomb  of  Ste.  Genevieve,  which  occupied  the  site  of  the  existing 
Pantheon,  nearly,  were  the  objects  of  the  greatest  devotion. 
St.  Denis  was  the  saint  of  the  kings  and  nobles  ;  but  Ste. 
Genevieve  was,  and  stiil  remains,  the  saint  of  the  people,  and 
especially  of  the  women.  Miracles  were  constantly  performed 
at  her  shrine,  and  her  aid  was  implored  at  all  moments  of 
national  danger  or  ntisfortune.  A  great  (Augustin)  abbey  grew 
up  in  time  behind  the  church,  and  was  dedicated  in  honour  of 
the  holy  shepherdess.     The  wall  of  Philippe  Auguste  bent 


\% 


56 


PARIS 


[". 


abruptly  southward  in  order  to  include  her  shrine  and  this 
powerful  abbey. 

In  the  twelfth  century,  when  the  old  church  of  St.  Stephen 
(in  French,  St.  ttiennc),  on  the  site  of  Notre-Dame,  was  pulled 
down  in  order  to  make  room  for  the  existing  cathedral,  the 
relics  of  St.  Stephen  contained  in  it  were  transferred  to  a  new 
edifice— St.  EtIenne-da-Mont— which  was  erected  by  the 
monks,  close  to  the  Abbey  of  Ste.  Genevieve,  as  a  parish 
church  for  their  servant-  .d  dependents.  In  the  sixteenth 
century  this  second  church  of  St  Stephen  was  pulled  down, 
with  the  exception  of  its  tower,  which  is  still  standing.  The 
existing  cliurch  of  St.  ittienne  was  then  begun  on  the  same  site 
in  the  Gothic  style,  and  slowly  completed  with  extensive  Ren- 
naissanci  alterations. 

Later  svill,  the  mediaeval  church  of  Ste.  Genevifeve,  hard  by, 
having  fal'.en  into  decay  in  the  middle  of  the  eighteenth  century, 
Louis  XV  determined  to  replace  it  by  a  sumptuous  domed 
edifice  in  the  style  of  the  period.    This  building,  designed  by 
Soufflot,  was  not  completed  till  the  Revolution,  when  it  was 
immediately  secularised  as  the  PantMon,  under  circumstances 
to  be  mentioned  later.    The  remains  of  Ste.  Genevifeve,  which 
had  lain  temporarily  meanwhile  in  a  sumptuous  chapel  at  St. 
^tienne-du-Mont  (the  subsidiary  church  of  the  monastery) 
were  then  taken  out  by  the  Revolutionists ;  the  mediaeval  shrine, 
or  reliquary  (which  replaced  St.  itloy's),  was  ruthlessly  broken 
up ;  and  the  body  of  the  patroness  and  preserver  of  Paris  was 
publicly  burned  in  the  Place  de  Gr&ve.    This,  however,  strange 
to  say,  was  not  quite  the  end  of  Ste.  Genevifcve.    A  few  of  her 
relics  were  said  to  have  been  preserved  :  some  bones,  together 
with  a  lock  of  the  holy  shepherdess's  hair,  were  afterwards 
recovered,  and  replaced  in  the  sarcophagus  they  had  once 
occupied.    Such  at  least  is  the  official  story  ;  and  these  relics, 
now  once  more  enclosed  in  a  costly  shrine,  still  attract  thousands 
of  votaries  to  the  chapel  of  the  saint  in  St.  6tienne-du-Mont. 

The  Panthdon,  standing  in  front  of  the  original  church,  is 
now  a  secular  burial-place  for  the  great  men  of  France.  The 
remains  of  Ste.  Geneviisve  still  repose  at  St.  6tienne.  Thus  it 
is  impossible  to  dissociate  the  two  buildings,  which  should  be 
visited  together ;  and  thus  too  it  happens  that  the  patroness 


of 
ab 
th( 


ex 

St 
de 
U 
ch 
sit 
in 
ga 

of 

in 
til 
«( 
th 
or 
d( 
ar 
m 
sc 

St 

oi 
it! 
ar 
m 
tti 
in 
vi 
h\ 

in 
le 

F 
ai 


[It. 

rine  and  this 

f  St.  Stephen 
le,  was  pulled 
:athedr.-il,  the 
rred  to  a  new 
ected  by  the 
,  as  a  parish 
the  sixteenth 
pulled  down, 
anding.  The 
I  the  same  site 
xtensive  Ren- 

rifeve,  hard  by, 
teenth  century, 
ptuous  domed 
J,  designed  by 
I,  when  it  was 
circumstances 
nevifeve,  which 
I  chapel  at  St. 
he  monastery) 
edijeval  shrine, 
thlessly  broken 
sr  of  Paris  was 
jwever,  strange 
A  few  of  her 
bones,  together 
irere  afterwards 
they  had  once 
nd  these  relics, 
tract  thousands 
nne-du-Mont. 
ginal  church,  is 
f  France.    The 
ienne.    Thus  it 
ih\ch  should  be 
,t  the  patroness 


II.] 


THE   LEFT   OR  SOUTH   BANK 


57 


of  Paris  has  now  no  church  in  her  own  city.  Local  saints  are 
always  the  most  important ;  this  hill  and  Montmartre  are  still 
the  holiest  places  in  Paris.] 

Proceed,  as  far  as  the  garden  of  the  Thermes,  as  on  the 
excursion  to  Cluny.  Then  continue  straight  up  the  Boulevar<*. 
St.  Michel.  The  large  edifice  visible  on  the  R  of  the  Rue 
des  Ecoles  to  your  L,  is  the  new  building  of  the  Sorbonne,  or 
University.  Further  up,  at  the  Place  du  Sorbonne,  the  domed 
church  of  the  same  name  stands  before  you.  It  is  the  Univer- 
sity church,  and  is  noticeable  as  the  earliest  true  dome  erected 
in  Paris.  The  next  comer  shows  one,  R,  the  Luxembourg 
garden,  and  L,  the  Rue  Soufflot,  leadin^f  up  to  the  Panthion. 

The  colossal  domed  temple  which  replaces  the  ancient  church 
of  Ste.  Genevieve  was  begun  by  Soufflot,  under  Louis  XV,  in 
imitation  of  St.  Peter's,  at  Rome.  Like  all  architects  of  his 
time,  Soufflot  sought  merely  to  produce  an  effect  of  pagan  or 
"  classical "  grandeur,  peculiarly  out  of  place  in  the  shrine  of 
the  shepherdess  of  Nanterre.  Secularised  almost  immediately 
on  its  completion,  during  the  Revolution,  the  building  was 
destined  as  the  national  monument  to  the  great  men  of  France, 
and  the  inscription,  "  Aux  Grands  Hommes  la  Patrie  Recon- 
naissante,"  which  it  still  bears,  was  then  first  placed  under  the 
sculptures  of  the  pediment.  Restored  to  worship  by  the  Re- 
storation, it  was  again  secularised  under  the  Third  Republic  in 
order  to  admit  of  the  burial  of  Victor  Hug  t.  The  building 
itself,  a  vast  bare  bam  of  the  pseudo-classi?  al  type,  very  cold 
and  formal,  is  worthy  of  notice  mersly  on  .ccount  of  itp  im- 
mense size  and  its  historic  positioii ;  but  ii  may  be  visited  to 
this  day  with  pleasure,  not  only  for  some  noble  modern  paint- 
ings, but  also  for  the  sake  of  the  reminiscences  of  Ste.  Gene- 
vieve which  it  till  contains.  Open  daily,  free,  from  lo  to  4, 
Mondays  excepted. 

The  tympanum  has  a  group  by  David  d'  Angers,  represent- 
ing France  distributing  wreaths  to  soldiers,  politicians,  men  of 
letters,  men  of  science,  and  artists. 

The  interior  is  in  the  shape  of  a  Greek  cross  (with  equal  arms). 
Follow  round  the  walls,  beginning  from  the  R.  In  the  R  Aisle 
are  paintings  (modern)  looking  like  frescoes,  and  represent- 


^1  -, 


sismmi 


58 


PARIS 


[". 


ing  the  preaching  of  St.  Denis,  by  Galand  ;  and  •the  history 
of  Ste.  Genevifeve— her  childhood,  recognition  by  St.  Germain 
I'Auxerrois,  miracles,  etc.,  delicate  and  elusive  works,  by  Puvis 
de  Chavannes,    The  paintings  of  the  South  Transept  represent 
episodes   in  the  early  history  of   France.      Chronologically 
speaking,  they  begin    from   the    E.  central    corner.     Choir, 
Death  of  Ste.  Genevifcve,  by  Laurens,  and  Miracles  before  her 
Shrine.    Apse  of  the  tribune,  fine  modern  (archaic)  mosaic,  by 
Hubert,  representing  Christ  with  the  Guardian  Angel  of  France, 
tne  Madonna,  Jeanne  d' Arc,  and  Ste.  Genevieve.    Stand  under 
the  dome  to  reserve  the  proportions  of  the  huge,  bare,  unim- 
pressive building.    L,  or  Northern  Transept,  E.  side,  the  history 
of  Jeanne  d'Arc  ;  she  hears  the  voices  ;  leads  the  assault  at 
Orleans  ;  assists  at  the  coronation  of  Charles  VII  at  Rheims  ; 
and  is  burnt  at  Rouen.    W.  side,  St.  Louis  as  a  child  instructed 
by  Blanche  of  Castille ;  administering  justice  in  the  Palace ;  uad 
a  captive  among  the  Saracens.   N.  aisle,  history  of  Ste.  Genevifeve 
and  St.  Denis  (suite).    The  building  is  thus  at  once  the  apo- 
theosis of  patriotism,  and  the  lasting  memorial  of  the  part 
borne  by  Christianity  in  French,  and  especially  Parisian,  history. 
As  you  descend  the  steps  of  the  Pantheon,  the  building  that 
faces  you  to  the  L  is  the  Mairie  of  the  Sth  Arrondissement ; 
that  to  the  R,  the  tco\e  de  Droit.    Turn  to  the  R,  along  the  N. 
side  of  the  Panthdon.    The  long,  low  building  which  faces  you 
is  the  Bibliothfeque  Ste.  Genevieve.    Nothing  now  ren  ains  of 
the  Abbey  of  Ste.  Genevieve  except  the  tall  early  Gothi.:  tower 
seen  to  the  R,  near  the  end  of  the  Pantheon,  and  rising  above 
the  modern  buildingb  of  the  Lyc^e  Henri  IV.    The  singularly 
picturesque  and  strangely-mingled  church  across    the   little 
square  is  St.  fetlenne-du-Mont,  which  we  now  proceed  to 

visit. 

Stand  in  the  left-hand  corner  of  the  Place  to  examine  the 
/a{M/e.  The  church  was  begun  (i 517)  as  late  Gothic ;  but  before 
it  was  finished,  the  Renaissance  style  had  come  into  fashion, 
and  the  architects  accordingly  jumbled  the  two  in  the  most 
charming  manner.  The  incongruity  here  only  adds  to  the 
beauty.  The  quaintly  original  Renaissance  portal  bears  a 
dedication  to  St.  Stephen  the  Protomartyr,  beneath  which  is 
a  relief  of  his  martyrdom,  with  a  Latin  inscription,  "  Stone 


c«. 


II.] 


THE  LEFT  OR  SOUTH   BANK 


59 


•the  history 
'  St.  Germain 
rks,  by  Puvis 
ept  represent 
ironologically 
•ner.  Choir, 
les  before  her 
ic)  mosaic,  by 
gel  of  France, 

Stand  under 
B,  bare,  unim- 
ie,  the  history 
:he  assault  at 
;  I  at  Rheims  ; 
lild  instructed 
e  Palace ;  i;ad 
>te.  Genevifeve 
mce  the  apo- 
l  of  the  part 
risian,  history. 

building  that 
ondissement ; 
,  along  the  N. 
hich  faces  you 
)w  renains  of 
1  Gothi'.-.  tower 
1  rising  above 
The  singularly 
oss  the  little 
)w  proceed  to 

}  examine  the 
lie ;  but  before 
i  into  fashion, 
o  in  the  most 
r  adds  to  the 
ortal  bears  a 
leath  which  is 
ption,  "Stone 


destroyed  the  temple  of  the  Lord,"  i.*.,  Stephen,  "  Stone  re- 
builds it."  R  and  L  of  the  portal  are  statues  of  Sts.  Stephen  and 
Genevieve,  whose  monograms  also  appear  on  the  doors.  In  the 
pediment  is  the  usual  representation  of  the  Resurrection  and 
Last  Judgment.  Above  it,  the  rose  window,  on  either  side  of 
which,  in  accordance  with  Italian  rather  than  with  French 
custom  (showing  Italian  Renaissance  influence)  are  the  Angel 
of  the  Annunciation  and  the  Madonna  receiving  his  message. 
In  the  third  story,  a  gable-end.  Singular  tower  to  the  L,  wiih  an 
additional  round  turret,  a  relic  of  the  earlier  Gothic  building. 
The  whole  /aiode  (17th  century),  represents  rather  late  Renais- 
sance than  transitional  architecture. 

The  interior  is  the  most  singular,  and  in  some  ways  the  most 
picturesque,  in  Paris — a  Gothic  church,  tricked  out  in  Renais- 
sance finery.  The  nave  is  flanked  by  ais!:s  which  are  divided 
from  it  by  round  pillars,  capped  by  a  singular  balustrade 
or  gallery  with  low,  flat  arches,  simulating  a  triforium.  The 
upper  arches  are  round,  and  the  decorations  Renaissance  ;  but 
the  vaulting,  both  of  nave  and  aisles,  with  its  pendant  key- 
stones, recalls  the  Gothic  style,  as  do  also  most  of  the  windows. 
Stand  near  the  entrance,  in  the  centre  of  the  nave,  and  look  up 
the  church.  The  most  striking  feature  is  the  beautiful  Renais- 
sance y«*/ or  **rood-loft  (the  only  one  now  left  in  Paris)  which 
•iivides  the  Choir  from  the  body  of  the  building.  This  rood-loft 
still  bears  a  crucifix,  for  the  reception  of  which  it  was  originally 
intended.  On  the  arch  below  are  two  charmingly  sculptured 
Renaissance  angels.  The  roud-iuft  is  flanked  by  two  spiral 
staircases,  which  are  wholly  unique  architectural  features. 
Notice  also  the  exquisite  pendentive  of  the  roof  at  the  point  ot 
intersection  of  the  nave  and  short  false  transepts. 

Now  walk  up  the  Right  Aisle.  The  first  chapel  is  the  Baptis- 
tery, containing  the  font  and  a  modem  statue  of  the  boy  Baptist. 
Third  chapel,  St.  Antony  of  Padua.  The  fourth  chapel  con- 
tains a  curious  Holy  Sepulchre,  with  quaint  life-size  terra-cotta 
figures  of  the  i6th  century.  Fifth  chapel,  a  gilt  chdsse.  Notice 
the  transepts,  reduced  to  short  arms,  sc.  ^elv,  if  at  all,  project- 
ing beyond  the  chapels.  From  this  point  examine  the  exquisite 
Renaissance  tracery  of  the  rood-screen  and  staircases.  Then 
pass  under  the  fine  Renaissance  door,  with  lovely  decorative 


\i^ 


♦»■ 


.5*eKy-«;*9^je 


bo 


PARIS 


[II. 


II.] 


work,  into  tlie  •mbulatory.     The  Choir  is  in  large  part  Gothic, 
with  late  flamboyant  tracery.    The  apparent  triforium  is  con- 
tinued round  the  ambulatory.    The  splendid  gilded  shrine  in 
the  second  choir-chapel  contains  the  remain*  ol  5te.  Qene- 
vlive,  or  what  is  left  of  them.    Candles  bum  perpetually  around 
it.    Hundreds  of  votaries  here  pay  their  devotions  daily  to  the 
Patroness  of  Paris.    The  shrine,  containing  what  is  alleged  to 
be  the  original  sarcophagus  of  the  Saint  (more  probably  of  the 
13th  century)  stands  under  a  richly-gilt   Gothic  tabernacle, 
adorned  with  figures  legibly  named  on  their  pedestals.    The 
stained-glass  window  behind  it  has  a  representation  of  a  pro- 
cessional  function  with  the  body  of  the  Saint,  showing  this 
ch  rch,   together  with  a  view  of  the  original  church  of  Ste. 
Geneviive,  the  remaining  tower,  and  adjacent  houses,  histori- 
cally most  interesting.    The  window  beyond  the  shrine  also 
contains  the  history  of  Ste.  Geneviiive— her  childhood,  first 
communion,  miracles,  distribution  of  bread  during  the  siege  of 
Paris,  conversion  of  Clovis,  death,  etc.    Indeed  the  long  sojourn 
of  the  body  of  Ste.  Geneviisve  in  this  church  has  almost  over- 
shadowed its  dedication  to  St.  Stephen,  several  memorials  ol 
whom  may,  however,  be  recognised  by  the  attentive  visitor— 
■  amongst  them,  a  picture  of  his  martyrdom  (by  Abel  de  Pujol) 
near  the  entrance  to  the  choir.    The  Protomartyr  also  stands, 
with  his  deacon's  robe  and  palm,  in  a  niche  near  the  door  of  the 
sacristy,  where  L  and  R  are  frescoes  of  his  Disputation  with  the 
Doctors,  and  his  Martyrdom.    The  chapel  immediately  behind 
the  high  altar  is,  as  usual,  the  Lady  Chapel.    The  next  con- 
tains a  good  modern  window  of  the  Marriage  of  the  Virgin. 
Examine  in  detail  all  the  windows ;  one  of  the  mystic  wine-press 
is  very  interesting.    Votive  oflferings  of  the  city  of  Paris  to  Ste. 
Genevieve  also  exist  in  the  ambulatory.    Curious  frescoes  of 
the  martyrdom  of  the  10,000  Christians  on  Mount  Ararat  on  the 
N  side.    The  best  view  of  the  choir  is  obtained  from  the  N. 
side  of  the  ambulatory,  opposite  the  shrine  of  Ste.  Genevifeve. 
In  the  north  aisle  notice  St.  Louis  with  the  Crown  of  Thorns. 
Stand  again  in  the  centre  of  the  nave,  near  the  entrance,  and 
observe  the  curious  inclination  of  the  choir  and  high  altar  to 
one  side— here  particularly  noticeable,  and  said  in  every  case 
to  represent  the  droop  of  the  Redeemer's  head  on  the  cross. 


roll 

n<i 

of 

the 

ISai 

bui 

C^Ui 


[It. 


II.] 


THE  LEFT   OK  SOUTH    BANK 


01 


e  part  Gothic, 
rorium  is  coll- 
ided shrine  in 
I  5te.  Qene- 
etually  around 
IS  daily  to  the 
t  is  alleged  to 
robably  of  the 
ic  tabernacle, 
Edestals.  The 
ition  of  a  pro- 

showing  this 
:hurch  of  Ste. 
louses,  histori- 
iie  shrine  also 
hildhood,  first 
ig  the  siege  of 
le  long  sojourn 
IS  almost  over- 
I  memorials  ot 
sntive  visitor — 
Abel  de  Pujol) 
:yr  also  stands, 
the  door  of  the 
itation  with  the 
ediately  behind 
The  next  con- 

of  the  Virgin, 
yrstic  wine-press 
of  Paris  to  Ste. 
ous  frescoes  of 
it  Ararat  on  the 
led  from  the  N. 
Ste.  Genevifeve. 
own  of  Thorns, 
e  entrance,  and 
d  high  altar  to 
1  in  every  case 
>n  the  cross. 


Go  out  again.  As  you  emerge  from  the  door,  observe  the 
I  lid  and  baie  hide  of  the  I'anthdon,  contrasted  with  the  internal 
I  u  iiness  of  St.  Etienne.  Curious  view  of  the  late  Gothic  portion 
of  the  church  from  the  little  Place  on  the  N.  side.  Return  by 
the  Rue  Cujas  and  Rue  St.  Jacques,  passing  the  Lycde  Ste. 
ISarbe,  Lycde  Louis-le-Grand,  University,  and  other  ■«  holastic 
buildings,  which  give  a  good  idea  of  the  character  of  the 
quarter. 


tes^giS 


Sf^ 


m 

RENAISSANCE   PARIS  (THE  LOUVRE) 

r"r)ARIS,  which  spread  rapidly  Southward  at  first,  was 
L 1  somewhat  slower  in  its  Northward  development. 
Nevertheless,  by  thr  time  of  Philippe  AuKUSte,  the  Town 
La  Vin«)-  '•"'  '  cMiimercial  portion  N.  of  the  river— more  than 
equalled  tti  .earned  district  on  the  s.  side.  This  central 
northern  reg.on,  however,  t  ntainin^;  the  H6tel  de  Ville,  St. 
Eustache,  and  some  other  important  buildings,  I  purposely 
postpone  to  the  consideration  of  the  Louvre  and  its  neigh- 
bourhood, which,  though  later  in  date,  form  the  he.irt  and 
core  of  Renaissance  Paris— the  Paris  of  Framjois  I"  and 
his  splendour-loving  successors. 

Most  of  the  buildings  we  have  hitherto  considered  are 
mediieval  and  Gothic.  The  Louvre  introduces  us  at  once  to  a 
new  world— the  worUl  of  the  Renaisaance  The  transition  is 
:  jrupt.  In  Italy,  and  especially  in  Florence,  tlie  Renaissance 
was  a  natural  growth  ;  in  France  it  was  a  fashion.  It  came  in, 
full-fledged,  without  history  or  antecedents.  To  trace  its  evolu- 
tion, one  must  follow  it  out  in  detail  in  Florence  and  Venice. 
There,  it  grows  of  itself,  organically,  by  gradual  stages.  But  in 
France,  Gothic  churches  and  mediaeval  chAteaux  give  place  at 
once,  with  a  bound,  to  developed  Renaissance  temples  and 
palaces.  The  reason  for  this  fact  is,  that  the  French  kings, 
from  Charles  VIII  onward  to  Henri  IV,  were  thoroughly  Itali- 
anate.  They  fought,  travelled,  and  married  in  Italy,  to  parts  of 
which  they  laid  claim  ;  and  being  closely  allied  with  the  Medici 
and  other  Italian  families,— husbands  of  Medici  wives,  sons  of 
Medici  mothers,— they  introduced  at  once  into  France  the 
developed  products  of  the  Italian  Renaissance.    At  the  same 

n 


KENAJSSAXCE  PARIS  {THE  LOUVRE)         63 


DUVRE) 

at  first,  was 
development, 
e,  the  Town 
r— more  than 
This  central 
de  Ville,  St. 
,  I  purposely 
ind  its  neigh- 
he  he.irt  and 
Kjois   I"   and 

>nsidered  are 
is  at  once  to  a 
e  transition  is 
E  Renaissance 
1.  It  came  in, 
trace  its  evolu- 
ce  and  Venice, 
itages.  But  in 
r  give  place  at 
:  temples  and 
French  kings, 
loroughly  Itali- 
aly,  to  parts  of 
irith  the  Medici 
i  wives,  sons  of 
to  France  the 
At  the  same 


time  the  increased  and  centralized  power  of  the  Crown  enabled 
them  to  build  magnificent  palaces,  like  the  Louvre  and  Fontaine - 
bleau  ;  and  to  this  artificial  impulse  is  mainly  due  the  sudden 
outburst  of  art  in  France  under  Francois  I"  and  his  immediate 
successors. 

It  is  impossible  to  characterize  the  RenalManc*  in  a  few 
short  sentences.  In  one  aspect,  it  was  a  return  from  Qothlcltm 
to  Clwtlcal  u«aa:e,  somewhat  altered  by  the  new  conditions  of 
life.  At  first  you  will  probably  only  notice  that  in  architecture 
it  substituted  round  arches  for  pointed,  and  introduced  square 
doors  and  windows  ;  while  in  other  arts  it  replaced  sacred  and 
Christian  subjects  and  treatment  by  mythological  and  secular. 
But,  in  contrast  with  mediaevalism,  it  will  reveal  itself  to  you  by 
degrees  as  essentially  the  dawn  of  the  modern  «plrlt. 

The  Louvre  is  the  noblest  monument  of  the  French  Renals- 

MHce.    From  the  time  of  St.  Louis  onward,  the  French  kings 

began  to  live  more  and  more  in  the  northern  suburb,  the  town 

of  the  merchants,  which  now  assumed  the  name  of  La  Ville,  in 

contradistinction  to  the  C'\t6  and  the  University    Two  of  their 

chief  residences  here  were  the  Bastille  and  the  HAtel  St.  Paul, 

both  now  demolished— one,  on  the  Place  so  called,  the  other, 

between  the  Rue  St.  Antoine  and  the  Quai  des  C^lestins.    But 

from  a  very  early  period  they  also  possessed  a  chdteau  on  the 

site  of  the   Louvre,  and  known  by  the  same  name,  which 

guarded  the  point  where  the  wall  of  Philippe  Auguste  abutted 

on  the  river.    Franqois  I"  decided  to  pull  down  this  picturesque 

turreted  mediaeval  castle,  erected  by  Philippe  Auguste  and 

altered  by  Charles  V.    He  began  the  construction  in  its  place 

of  a  magnificent  Renaissance  palace,  which  has  ever  since  been 

in  course  of  erection.    Its  subsequent  growth,  however,  is  best 

explained  opposite  the  building  itself,  where  attention  can  be 

duly  called  to  the  succession  of  its'  salient  features.    But  a  visit 

to  the  exterior  fabric  of  the  Louvre  should  be  preceded  by  one 

to  5t.  Qermain  I' Auxerrol*.  the  parish  church,  and  practically 

the  chapel,  of  the  old  Louvre,  to  which  it  stood  in  somewhat 

the  same  relation  as  the  Ste.  Chapelle  to  the  home  of  St.  Louis. 

Note,  however,  that  the  church  was  situated  just  within  the 

ancient  wall,  while  the  chdteau  lay  outside  it.    The  visitor  will 

doubtless  be  tolerably  familiar  by  this  time  with  some  parts  at 


0 


64 


PARIS 


[in. 


least  of  the  exterior  of  the  Louvre  ;  but  he  will  do  well  to  visit 
it  now  aystematlcally,  in  the  order  here  suggested,  so  as  to 
gain  a  clear  general  idea  of  its  history  and  meaning.] 

A.     THE  FABRIC 

Go  along  the  Rue  de  Rivoli,  past  the  Palais  Royal,  till  you 
reach  the  Rue  du  Louvre.  Turn  down  it,  with  the  Louvre  on 
your  right.  To  your  left  stands  a  curious  composite  building, 
with  a  detached  belfry  in  the  centre,  and  two  wings,  as  it  seems, 
one  on  either  side.  The  southernmost  wing  is  the  old  church 
ol  St.  Qermain  I'Auxerrols,  the  sole  remnant  of  the  earliest 
Louvre  ;  the  northernmost  wing  is  the  modern  Mairie  of  the 
I  St  Arrondissement,  unhappily  intended  to  "  harmonize  "  with 
it.  The  real  result  is,  that  the  modern  building  kills  the  old 
one.  The  belfry  was  designed  to  fill  up  the  gap  between  the 
two.     Its  effect  is  disastrous. 

The  church  is  older  than  the  oldest  Louvre.  St.  Germanus, 
Bishop  of  A.  •■'^rre  (d.  430),  was  almost  one  of  the  first  genera- 
tion of  Gallic  saints,  celebrated  for  his  visit  to  Britain,  where 
he  assisted  in  gaining  th^  Hallelujah  victory  over  the  heathen 
invaders.  A  church  on  this  site  is  said  to  have  been  erected  in 
his  honour  as  early  as  the  days  of  Chilperic.  Sacked  by  the 
Normans,  it  was  re-erected  in  something  like  its  present  form 
in  the  12th  century,  but  received  many  subsequent  additions. 

The  beautiful  porch,  which  we  first  examine,  is  of  much  Later 
date,  having  been  added  in  1431  by  Jean  Gaussel,  at  a  time 
when  the  old  chdieau  of  the  Louvre  had  become  one  of  the 
principal  residences  of  the  French  kings,  in  order  to  give 
greater  dignity,  and  to  afford  a  covered  approach  for  the  royal 
worshippers  to  what  was  practically  their  own  chapel.  It 
therefore  contains  (restored)  statues,  in  niches,  relating  especi- 
ally to  the  royal  and  local  Saints  of  Paris,  whose  names  are 
beneath  them  :~St.  Cloud,  the  Princess  Ste.  Clotilde,  Ste.  Radd- 
gonde  of  France,  St.  Denis,  St.  Marcel,  St.  Germain  himself, 
St.  Landry,  Ste.  Isabelle,  Ste.  Bathilde,  St.  Jean  de  Valois,  and 
others.  The  saints  of  the  royal  house  are  distinguished  by 
crowns  or  coronets.  Two  of  these  statues  are  old  :  St.  Francis, 
.^t  the  south  end,  and  St.  Mary  of  Egypt,  nude,  with  her  long 
hair,  and  the  three  loaves  which  sustained  her  in  the  desert,  on 


mz 


till* 

0  well  to  visit 
stad,  so  as  to 


loyal,  till  you 
he  Louvre  on 
isite  building, 
s,  as  it  seems, 
le  old  church 
of  the  earliest 
Mairie  of  the 
monize  "  with 
[  kills  the  old 
p  between  the 

St.  Germanus, 
le  first  genera- 
Britain,  where 
er  the  heathen 
leen  erected  in 
Sacked  by  the 
s  present  form 
It  additions. 
3  of  much  later 
issel,  at  a  time 
me  one  of  the 
order  to  give 
h  for  the  royal 
m  chapel.     It 
elating  especi- 
lose  names  are 
ilde,  Ste.  Rad^- 
irmain  himself, 
de  Valois,  and 
istinguished  by 
Id  :  St.  Francis, 
,  with  her  long 
n  the  desert,  on 


in.]    RENAISSANCE  PARIS  {THE  LOUVRE)         65 

the  second  north  pillar.    The  modern  frescoes,  destroyed,  are 
by  Mottez. 

Observe  the  congruity  of  all  these  saints  to  the  church  and 
the  chdieau.  St.  Landry  or  Landeric,  an  early  Prankish  bishop 
of  Paris,  was  buried  within,  and  his  shrine  was  a  place  of  pil- 
grimage. St.  Marcel  was  also  a  bishop  of  Paris.  St.  Cloud 
was  a  holy  anchorite  whose  cell  was  in  the  wood  which  occupied 
the  site  of  the  palace  (now  destroyed)  that  bears  his  name. 
All  these  saints  are  therefore  closely  bound  up  with  the  town  of 
Paris  and  the  royal  family.  You  must  never  forget  this  near 
alliance  in  France  between  the  church  and  ilie  crown :  it  colours 
all  the  architecture  of  the  early  period. 

Within  the  porch,  we  come  to  the  main  facade,  of  the  13th 
century.  R  and  L,  two  sainted  bishops  of  Auxerre,  successors 
of  St.  Germain.  Central  portal,  a  queen,  a  king  (probably 
Childebert  and  Ultrogothe,  the  original  Frankish  founders),  St. 
Vincent ;  then  St.  Germain  himself,  and  Ste.  Genevi&ve,  with 
the  usual  devil  and  candle,  and  her  attendant  angel,  etc.  On  the 
pier.  Madonna  and  Child,  under  a  ca  nopy.  The  tympanum  had 
formerly  the  usual  relief  of  the  Last  Judgment,  now  destroyed, 
and  replaced  by  a  fresco.  Reminiscences  of  its  subject  still 
remain  in  the  quaint  figures  to  R  and  L  on  the  arch,  at  its  base, 
representing  respectively,  with  childish  realism,  the  Jaws  of 
Hell  and  Abraham's  Bosom,  to  which  the  wicked  and  the  just 
were  consigned  in  the  centre. 

In  this  church,  and  in  that  of  St.  Germain-des-Pr^s  (see  later), 
St.  Vincent  ranks  as  a  local  Parisian  saint,  because  his  tunic 
was  preserved  in  the  great  abbey  church  of  the  other  St.  Ger- 
main beyond  the  river.  He  bears  a  martyr's  palm  and  is 
habited  as  a  deacon  ;  whence  he  is  often  hard  to  distinguish 
from  his  brother  deacon,  St.  Stephen  :  both  are  often  put 
together  in  Parisian  church«s.  It  is  probable  that  St.  Germain 
of  Paris  consecrated  this  church  to  his  older  name-sake  and  St. 
Vincent— for  his  connection  with  wtiom  you  had  better  wait  till 
you  visit  St.  Germain-des-Pr^s. 

The  interior  is  low,  but  impressive.  The  R  aisle  is  entirely 
railed  off  as  a  separate  church  or  Lady  Chapel.  It  contains 
an  interesting  14th-century  Root  of  Jesse,  seldom  accessible. 
Pretty  modern  font,  by  Jouffroy,  aAw   Mme.  de  Lamartine, 


«■*- 


M 


6b 


PARIS 


[HI. 


in  the  South  Transept.  Walk  round  the  Ambulatory  (behind 
the  Choir),  and  observe  the  stained  glass  and  other  details, 
which  the  reader  may  now  be  trusted  to  discover  unaided.  A 
mass  of  the  detail  is  well  worthy  of  notice.  The  Gothic  pillars 
of  the  Choir  were  converted  in  the  i8th  century  into  fluted 
columns.  Over  the  Sacristy,  in  the  South  Ambulatory,  is  a 
modern  fresco  of  St.  Germain  and  St.  Vincent,  Note  many 
other  memorials  of  the  latter.  When  you  leave,  walk  to  the 
south  side  of  the  church  to  inspect  the  exterior  and  the  aquare 
ower,  from  which,  as  parish  church  of  the  Louvre,  the  bell 
rang  for  the  massacre  of  St.  Bartholomew,  to  be  answered  by 
that  in  the  Palace  on  the  island. 

On  emerging  from  the  church,  contrast  its  Gothic  quaintness 
and  richness  of  detail  with  the  cold,  classical  Made  of  that 
part  of  the  Louvre  which  fronts  you.  This  /tifode,  known  as 
Perraulfs  Colonnade, with  its  classical  pediment  and  Corinthian 
columns,  was  erected  by  Claude  Perrault  for  Louis  XIV, 
whose  LL  and  crown  appear  on  every  part  of  it.  Nothmg 
could  better  illustrate  the  profound  difference  between  Gothic 
and  Classical  architecture  than  this  abrupt  contrast. 

The  portion  of  the  palace  that  faces  you  is  the  real  front 
door  of  the  Louvre.  Notice  the  smaller  barred  windows  on 
the  ground  floor,  and  the  upper  story  converted  into  a  /og^ta. 
Now  pass  in  through  the  gateway,  under  the  Chariot  of  the 
Sun— an  Apotheosis  of  Louis— into  the  First  Court,  known  dis- 
tinctively as  the  Cour  du  Louvre.  For  all  that  follows,  consult 
the  excellent  coloured  map  in  Baedeker,  page  86.  I  advise 
you  to  cut  it  out,  and  carry  it  round  in  your  hand  during  this 
excursion. 

Begin  by  understanding  distinctly  that  this  court  (le  vieux 
Louvre)  is  the  real  and  original  Louvre:  the  rest  is  mere 
excrescence,  intended  to  unite  the  main  building  with  the 
Tuileries,  which  lay  some  hundreds  of  yards  to  the  west  of  it. 
Notice,  first,  that  the  Palace  as  a  whole,  seen  from  tne  point 
where  you  now  stand,  is  constructed  on  the  old  principle  of 
relatively  blank  external  walls,  like  a  castle,  with  an  interior 
courtyard,  on  which  all  the  apartments  open,  and  almost  all 
the  decoration  is  lavished.  Reminiscences  of  defence  lurk 
about  the  Louvre.    It  can  best  be  understood  by  comparison 


[ni. 

latory  (behind 
other  details, 
r  unaided.  A 
Gothic  pillars 
ry  into  fluted 
ibuUtory,  is  a 
,  Note  many 
re,  walk  to  the 
nd  the  aquare 
Quvre,  the  bell 
i  answered  by 

:hic  quaintnebs 
fa(;ade  of  that 
^ade,  known  as 
and  Corinthian 
•r  Louis  XIV, 
of  it.  Nothing 
)etween  Gothic 
rast. 

the  real  front 
ed  windows  on 
I  into  a  loggia. 

Chariot  of  the 
urt,  known  dis- 

foUows,  consult 
£  86.  I  advise 
ind  during  this 

court  (le  vieux 
he  rest  is  mere 
ilding  with  the 

0  the  west  of  it. 

from  the  point 

old  principle  of 

with  an  interior 

and  almost  all 
of  defence  lurk 

1  by  comparison 


in.]       ^lENAISSANCE  PARIS  {THE  LOUVRE)       67 

with  such  ornate,  yet  fortress-like,  Italian  palaces  as  the  Strozzi 
at  Florence.  Notice  the  four  opposite  portals,  facing  the  car- 
dinal points,  which  can  be  readily  shut  by  means  of  great 
doors  ;  while  the  actual  doorways  of  the  various  suites  of 
apartments  open  only  into  the  protected  courtyard.  This  is 
the  origin  of  the  familiar  French  parte -cocAire. 

Again,  the  portion  of  the  building  that  directly  faces  you  as 
you  enter  th'  'irt  from  St.  Germain  is  the  oldest  part,  and 
represents  the  arly  Renaissance  spirit.  It  is  the  most  primi- 
tive Louvre.  Note  in  particular  the  central  elevated  portion, 
known  as  a  Pavilion,  and  graced  with  elegant  Caryatides. 
These  Pavilions  are  lingering  reminiscences  of  the  mediaeval 
towers.  You  will  f  iid  them  in  the  corners  and  centres  of  other 
blocks  in  the  Louvrv';.  They  form  a  peculiarly  French  Renais- 
sance characteristic.  The  Palace  is  here  growing  out  of  the 
Castle.  The  other  three  sides  of  the  square  are,  on  the  whole, 
more  classical  and  later. 

Now  cross  the  square  directly  to  the  Pavilion  de  I'Horloge, 
as  it  is  called,  from  the  clock  which  adorns  it.  To  your  L,  on 
the  floor  of  the  court,  are  two  circular  white  lines,  enclosed  in 
a  square.  These  mark  the  site  of  the  original  Chdteau  of  the 
Louvre,  with  its  Keep,  or  donjon.  Fran9ois  I'^'',  who  began  the 
existing  building,  originally  intended  that  his  palace  should 
cover  the  same  area.  It  was  he  who  erected  the  L  wing,  which 
now  faces  you,  marked  by  the  crowned  H  on  its  central  round 
gable,  placed  there  by  his  successor,  Henri  II,  under  whom  it 
was  completed.  To  the  same  king  are  also  due  the  monograms 
of  H  and  D  (for  Diane  de  Poitiers,  his  mistress),  between  the 
columns  of  the  ground  "  The  whole  of  the  Pavilion  de 
I'Horlc^e,  and  of  this  \vl  wing,  should  be  carefully  ex- 
amined in  detail  as  the  finest  remaining  specimen  of  highly 
decorated  French  Renaissance  architecture.  (But  the  upper 
story  of  the  Pavilion,  with  the  Caryatides,  is  an  age  later.)  Ob- 
serve even  the  decoration  lavished  on  the  beautiful  chimneys. 
Pierre  Lescot  was  the  architect  of  this  earliest  wing  ;  the  ex- 
quisite sculpture  is  by  Jean  Goujon,  a  Frenchman,  and  the 
Italian,  Paolo  Ponzio.  Examine  much  of  it.  The  crossed  K's 
of  certain  panels  stand  for  Catheriae  d«  Medicis. 

The  R  wing,  beyond  the  Pavilion,  was  added,  in  the  same 


68 


PARIS 


[III. 


'f 


style,  under  Louis  XIII,  who  decided  to  double  the  plan  of 
his  predecessors,  and  form  the  existing  Cour  du  Louvre 

The  other  three  sides,  in  a  more  classic  style,  with  pedi- 
ments replacing  the  Pavilions,  and  square  porticoes  instead  of 
rounded  Ws.  are  for  the  most  part  later.  The  s.  side,  how- 
ever  as  far  as  the  central  door,  is  also  by  Pierre  Lescot.  It 
forms  one  of  the  two  fronts  of  the  original  square  first  contem- 
plated. The  attic  story  of  these  three  sides  was  added  under 
Luis  XIV,  to  whom  in  the  main  is  due  this  Cour  du  Louvre 
A  considerable  part  of  Louis  XIV-s  decorations  bear  reference 
to  his  representation  as /«ww/«/. 

Now,  pass  through  the  Pavilion  de  I'Horloge  (called  on  its  W. 
side  Pavilion  Sully)  into  the  second  of  the  three  courts  of  the 
Louvre.    To  understand  this  portion  of  the  b^'W'"/.  ^gajn, 
you  must  remember  that  shortly  after  the  erection  of  the  Old 
Louvre,  Catherine  de  M^dicis  began  to  build  her  palace  of  the 
Taller  e».  now  destroyed,  to  the  w.  of  it.   She  (and  subsequent 
ruTers)  designed  to  unite  the  Old  Louvre  with  the  Tu.ler.es  by  a 
gallery  w4h  should  run  along  the  bank  of  the  river.    Of  tha^ 
^tZ  Catherine  de  M^dicis  herself  erected  a  considerable 
poS,  to  be  described  later,  and  Henri  IV  almost  completed 
r    La«r  on.  Napoleon  1  conceived  the  idea  of  extending  a 
similar  gallery  along  his  new  Rue  de  Rivoli,  on  the  N.  side  so 
as  to  eSlose  the  whole  space  between  the  Louvre  and  the 
Tuileries  in  one  gigantic  double  courtyard.      Napoleon  III 
lamTout  his  idfa!    The  second  court  in  which  you  now 
stand  is  entirely  flanked  by  buildings  of  this  epoch-the  Second 
Empire.    Examine  it  cursorily  as  far  as  the  modern  statue  of 

Gambetta.  .  ,  .._  .^^ 

Stand  or  take  a  seat  by  the  railing  of  the  garden  opposite  the 
PaviUon  Sully.  The  part  that  now  faces  you  forms  a  portion  of 
the  building  of  Francois  I"  and  Louis  XI 1 1,  redecorated  .„  part 
bv  Napoleon  I.  The  portions  to  your  R  and  L  (consult  Baede- 
ker's map)  are  entirely  of  the  age  of  Napoleon  III.  bu-U  so  as  to 
conceal  the  want  of  parallelism  of  the  outer  portions.  Observe 
their  characteristic  Pavilions,  each  bearing  its  own  name  in- 
scribed upon  it.  This  recent  square,  though  quite  modern  in 
the  character  of  its  sculpture  and  decoration  is  Renaissance 
in  its  general  architecture,  and,  when  looked  back  upon  from 


III 

th< 
thi 
Tl 
ful 
en 

an 

fig 
th 
en 
ur 
th 

pi' 
is 

Tl 

P< 
S< 
Ri 
as 
ca 
re 

Pi 
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in 
II 
of 
th 
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N 
Fl 

th 
wi 
cc 
T 
cc 
cc 
in 
ut 


[III. 

1  the  plan  of 

ouvre. 

e,  with  pedi- 

les  instead  of 

;  s.  side,  how- 

e  Lescot.    It 

•  first  contem- 
added  under 

xr  du  Louvre, 
bear  reference 

ailed  on  its  w. 
E  courts  of  the 
uilding,  again, 
on  of  the  Old 

•  palace  of  the 
ind  subsequent 
!  Tuileries  by  a 
river.  Of  that 
a  considerable 
lost  completed 
of  extending  a 
I  the  N.  side,  so 
,ouvre  and  the 

Napoleon  III 
vhich  you  now 
ch— the  Second 
odern  statue  of 

len  opposite  the 
rms  a  portion  of 
ecorated  in  part 
(consult  Baede- 
II, built  so  as  to 
•tions.  Observe 
3  own  name  in- 
[juite  modern  in 
,  is  Renaissance 
back  upon  from 


III.]      RENAISSANCE  PARIS  {THE  LOUVRE)       69 

the  gardens  of  the  Tuileries,  affords  a  most  excellent  idea  of 
that  stately  style,  as  developed  in  France  under  Francois  I'^ 
The  whole  of  this  splendid  plan,  however,  has  been  rendered 
futile  by  the  destruction  of  the  Tuileries,  without  which  the 
enclosure  becomes  wholly  meaningless. 

Now,  continue  westward,  pass  the  Monument  of  Gambetta, 
and  take  a  seat  on  the  steps  at  the  base,  near  the  fine  nude 
figure  of  Truth.  In  front  of  you  opens  the  third  square  of 
the  Louvre,  known  as  the  Place  du  Carrousel,  and  formerly 
enclosed  on  its  w.  side  by  the  Palace  of  the  Tuileries,  which  was 
unfoitunately  burnt  down  in  1 871,  during  the  conflict  between 
the  Municipal  and  National  authorities.  Its  place  is  now  occu- 
pied by  a  garden  terrace,  the  view  from  which  in  all  directions 
is  magnificent.  Fronting  you,  as  you  sit,  is  the  Arc  de 
Triomphe  du  Carrousel,  erected  under  Napoleon  I,  by 
Percier  and  Fontaine,  in  imitation  of  the  Arch  of  Septimius 
Severus  at  Rome,  and  once  crowned  by  the  famous  bronze 
Roman  horses  from  St.  Mark's  at  Venice.  The  arch,  designed 
as  an  approach  to  the  Tuileries  during  the  period  of  the  classi- 
cal mania,  is  too  small  for  its  present  surroundings,  since  the 
removal  of  the  Palace.  The  N.  wing,  visible  to  your  R,  is 
purely  modem,  of  the  age  of  the  First  and  Second  Empire  and 
the  Third  Republic.  The  meretricious  character  of  the  reliefs 
in  its  extreme  w.  portion,  erected  under  the  Emperor  Napoleon 
1 1 1,  and  restored  after  the  Commune,  is  redolent  of  the  spirit 
of  that  gaudy  period.  The  S.  wing,  to  your  L,  forms  part  of 
the  connecting  gallery  erected  by  Henri  IV,  but  its  architec- 
ture is  largely  obscured  by  considerable  alterations  under 
Napoleon  III.  Its  w.  pavilion — known  as  the  Pavilion  de 
Flore — is  well  worth  notice. 

Having  thus  gained  a  first  idea  of  the  courtyard  fronts  of 
the  building,  continue  your  walk,  still  westward,  along  the  S. 
wing  as  far  as  the  Pavilion  de  Flore,  a  remaining  portion  of  the 
corner  edifice  which  ran  into  one  line  with  the  Palace  of  the 
Tuileries  (again  consult  Baedeker's  map).  Turn  round  the 
corner  of  the  Pavilion  to  examine  the  s.,  or  River  Front  of  the 
connecting  gallery — one  of  the  finest  parts  of  the  whole  build- 
ing, but  far  less  known  to  ordinary  visitors  than  the  cold  and 
uninteresting  Northern  line  along  the  Rue  de  Rivoli.    The  first 


«.t^%*^j-^5. 


i 


70 


PARIS 


[III. 


Ill 


portion,  as  far  as  the  gateways,  belongs  originally  to  the  age  of 
Henri  IV ;  but  it  was  entirely  reconstructed  under  Napoleon 
III,  whose  obtrusive  N  appears  in  many  places  on  the  gateways 
and  elsewhere.    Nevertheless,  it  still  preserves,  on  the  whole, 
some  reminiscence  of  its  graceful  Renaissance  architecture. 
Beyond  the  main  gateway  (with  modem  bronze  Charioteer  of 
the  Sun),  flanked  by  the  Pavilions  de  la  Tr^moille  and  de 
Lesdigui6res,  we  come  upon   the   long    Southern   Qallery 
erected  by  Catherine  de  M^dicis,  which  still  preserves  almost 
intact  its  splendid  early  French  Renaissance  decoration.    This 
is  one  of  the  noblest  portions  of  the  entire  building.    The  N 
here  gives  place  to  H's,  and  the  Renaissance  scroll-work  and 
reliefs  almost  equal  those  in  that  portion  of  the  old  Louvre 
which  was  erected  under  Francois  I".    Sit  on  a  seat  on  the 
Quay  and  examine  the  sculpture.     Notice   particularly  the 
splendid  Porte  Jean  Goujon,  conspicuous  from  afar  by  its  gilded 
balcony.     Its  crowned    H's  and  coats-of-arms  are  specially 
interesting  examples  of  the  decorative  work  of  the  period. 
Note  also  the  skill  with  which  this  almost  flat  range  is  relieved 
by  sculpture  and  decoration  so  as  to  make  us  oblivious  of  the 
want  of  that  variety  usually  given  by  jutting  portions.    The  end 
of  this  long  gallery  is  formed  by  two  handsome  windows  with 
balconies.     We   there  come   to  the  connecting  Qalirie  d' 
Apollon,  of  which  these  windows  are  the  termination,  and 
Anally  reach  once  more  a  portion  of  Perraulf  s  faqade,  with  its 
double  LL's,  erected  under  Louis  XIV,  and  closely  resembling 
the  intenor /afade  of  the  Cour  du  Louvre. 

(The  N.  side  you  can  examine  any  day  as  you  pass  along  the 
Rue  de  Rivoli.  Vou  will  now  have  no  difficulty  in  distinguish- 
ing its  various  factors— first,  on  the  E.,  a  part  of  Perrault's/afa//<f 
of  the  Old  Louvre  ;  then,  where  it  begins  to  bend  outward,  a 
portion  of  Napoleon  the  Third's  connecting  link ;  finally, 
beyond  the  main  carriage  way,  westward,  a  part  reconstructed 
under  the  Third  Republic.) 

Sit  awhile  on  the  adjacent  Pont  des  Arts  to  gain  a  general 
conception  of  the  relations  of  the  Louvre,  the  lie  de  la  Cit^, 
the  H6tel  de  Ville  and  other  surrounding  buildings. 

This  first  rough  idea  of  the  Louvre  should  be  filled  in  later 
by  detailed  study.    The  Renaissance  portions,  in  particular, 


yo 

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su 
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I 

( 

1 


[III. 

to  the  age  of 
der  N.ipoleon 
I  the  gateways 
on  the  whole, 
;  architecture. 
Charioteer  of 
noille  and  de 
lern  Qallery 
sserves  almost 
oration.  This 
ding.  The  N 
:roll-work  and 
je  old  Louvre 

a  seat  on  the 
articularly  the 
fir  by  its  gilded 

are  specially 
of  the  period, 
nge  is  relieved 
blivious  of  the 
ions.  The  end 
i  windows  with 
ig  Qalirie  d' 
rmination,  and 
iaqade,  with  its 
lely  resembling 

pass  along  the 
in  distinguish- 

'errault's_/«fa//« 

end  outward,  a 
link  ;    finally, 

:t  reconstructed 

gain  a  general 
lie  de  la  Cit^, 
ngs. 

le  filled  in  later 
5,  in  particular, 


III.]      RENAISSANCE  PARIS  {THE  LOUVRE)       7' 

you  should  look  at  again  and  again,  every  time  you  enter 
piecing  out  your  conceptions  at  a  later  stage  by  visiting  the 
Renaissance  Sculpture  Gallery  in  the  Cour  du  Louvre,  and 
comparing  the  works  inside  it  and  outside  it.  Thus  only  can 
you  gain  a  connected  idea  of  Renaissance  Paris,  to  be  further 
supplemented  by  frequent  visits  to  St.  Etienne-duMont,  St. 
Eustache,  and  Fontainebleau. 

B.  THE  COLLECTIONS 
[The  Collections  in  the  Louvre  have  no  such  necessary  or- 
ganic connection  with  Paris  itself  as  Notre-Dame  and  the 
Sainte-Chapelle,  or  even  those  in  the  rooms  at  Cluny.  They 
may,  therefore,  be  e.xamined  by  the  visitor  at  any  period  of  his 
visit  that  he  chooses.  I  would  advise  him,  however,  whenever 
he  takes  them  up,  to  begin  with  the  paintings,  in  the  order  here 
enumerated,  and  then  to  go  on  to  the  Classical  and  Renais- 
sance Sculpture.  The  last-named,  at  least,  he  should  only 
examine  in  connection  with  the  rest  of  Renaissance  Paris. 
Also,  while  it  is  unimportant  whether  he  takes  first  Painting  or 
Sculpture,  it  is  very  important  that  he  should  take  each  sepa- 
rately in  the  chronological  order  here  enumerated.  He 
should  not  skip  from  room  to  room,  hap-hazard,  but  see  what 
he  sees  systematically. 

At  least  six  days-far  more,  if  possible— should  be  devoted 
to  the  Louvre  Collections— by  far  the  most  important  objects  to 
be  seen  in  Paris.  Of  ilese,  four  should  be  assigned  to  the 
Paintings,  and  one  each  to  the  Classical  and  Renaissance 
Sculpture.  If  this  is  impossible,  do  not  try  to  see  all ;  see  a 
little  thorottshly.  Confine  yourself,  for  Painting,  to  the  Salon 
Carr^  and  the  Salle  des  Primitifs,  and  for  Sculpture,  to  a  hasty 
walk  through  the  Classical  Gallery  and  to  the  three  Western 
rooms  of  the  Renaissance  collection. 

The  object  of  the  hints  which  follow  is  not  to  describe  the 
Collections  in  the  Louvre  ;  it  is  to  put  the  reader  on  the  right 
track  for  understanding  and  enjoying  them.  It  is  impossible  to 
make  people  admire  beautiful  things ;  but  if  you  begin  by  trying 
to  comprehend  them,  you  will  find  admiration  and  sympathy 
grow  with  comprehension.  Religious  symbolism  is  the 
native  language  of  early  art,  and  you  cannot  expect  to  under- 


'b^^Si^'i 


^:-h- 


J 


72 


PARIS 


[m. 


stand  the  art  if  you  do  not  take  the  trouble  to  learn  the  lan- 
guage in  which  it  is  written.  Therefore,  do  not  walk  listlessly 
through  the  galleries,  with  a  glance,  right  or  left,  at  what  hap- 
pens to  catch  your  eye  ;  begin  at  the  beginning,  work  sys- 
tematically through  what  parts  you  choose,  and  endeavour  to 
grasp  the  sequence  and  evolution  of  each  group  separately. 
Stand  or  sit  long  before  every  work,  till  you  feel  you  know  it ; 
and  return  frequently.  Remember,  too,  that  I  do  not  point  out 
always  what  is  most  worthy  of  notice,  but  rather  suggest  a  mode 
of  arriving  at  facts  which  might  otherwise  escape  you.  Many 
beautiful  objects  explain  themselves,  or  fall  so  naturally  into 
their  proper  place  in  a  series  that  you  will  leadily  discover  their 
meaning  and  importance  without  external  aid.  With  others, 
you  may  need  a  little  help,  to  suggest  a  point  of  view,  and  that 
is  all  that  these  brief  notes  aim  at.  Do  aot  be  surprised  if  I 
pass  by  many  beautiful  and  interesting  things  ;  if  you  find  them 
out  for  yourself,  there  is  no  need  to  isnlarge  upon  them. 
Should  these  hints  succeed  in  interesting  you  in  the  succession 
and  development  of  art,  get  Mrs.  Jameson  and  Kugler,  and 
read  up  at  leisure  in  your  rooms  all  questions  suggested  to  you 
by  your  visits  to  the  galleries.  My  notes  are  intended  to  be 
looked  at  before  the  obJecU  themselves,  and  merely  to  open 
a  door  to  their  right  comprehension. 

The  galleries  are  open,  free,  daily,  except  Mondays.    Paint- 
ing from  9,  Sculpture  from  ii.    For  details,  see  Baedeker.] 

I.  PAINTINGS. 
Take  Baedeker's  Plan  of  the  Galleries  (ist  Floor)  with  you. 
Enter  by  the  door  in  the  Pavilion  Denon.  (Sticks  and  um- 
brellas left  here ;  tip  optional.)  Turn  to  L  and  traverse  long 
hall  with  reproductions  of  famous  antiques  in  bronze  (Laocoon, 
Medici  Venus,  Apollo  Belvedere,  etc.),  which  those  who  do 
not  intend  to  visit  Rome  and  Florence  will  do  well  to  examine. 
Observe,  in  passing,  in  the  centre  of  the  hall,  a  fine  antique 
sarcophagus,  with  figures  in  high  relief,  representing  the  story 
of  Achilles.  Begin  on  the  furthest  side  of  the  sarcophagus  :  (i) 
Achilles,  disguised  as  a  woman,  among  the  daughters  of  Lyco- 
medes,  in  order  to  avoid  the  Trojan  war  ;  (2)  is  discovered  by 
Ulysses  as  a  pedlar,  through  his  choice  of  arms  instead  of  trin- 


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[III. 

earn  the  lan- 
ivalk  listlessly 
,  at  what  hap- 
ig,  work  sys- 
endeavour  to 
jp  separately. 
I  you  know  it ; 
I  not  point  out 
jggest  a  mode 
e  you.  Many 
naturally  into 
discover  their 

With  others, 
kriew,  and  that 
surprised  if  I 
you  find  them 

upon  them, 
the  succession 
1  Kugler,  and 
gested  to  you 
itended  to  be 
nerely  to  open 

idays.    Paint- 
iaedeker.] 


oor)  with  you. 
ticks  and  um- 
traverse  long 
nze  (Laocoon, 
those  who  do 
ill  to  examine. 
X  fine  antique 
iting  the  story 
cophagus  :  (i) 
Iters  of  Lyco- 
discovered  by 
[istead  of  trin- 


III.]      RENAISSANCE  PARIS  {THE  LOUVRE)        73 

kets ;  (3)  arming  himself  for  the  combat ;  and  (4,  modem)  Priam 
redeeming  the  body  of  Hector.  (The  work  originally  stood 
against  a  wall,  and  had  therefore  three  decorative  sides  only.) 
Further  on,  fine  sarcophagus  from  Salonica,  Roman  period,  with 
Combat  of  Amazons,  representing  on  the  lid  husband  and  wife, 
couched,  somewhat  after  the  Etruscan  fashion. 

Mount  the  staircase  (Escalier  Daru).  Near  the  top  is  the 
famous  Nik^  of  Samothrace,  a  much-mutilated  winged  figure 
of  Victory,  standing  like  a  figure-head  on  the  prow  of  a  trireme. 
It  was  erected  by  Demetrius  Poliorcetes,  in  commemoration  of 
a  naval  engagement  in  B.c.  305.  Attitude  and  drapery  stamp 
the  work  as  one  of  the  finest  products  of  Hellenic  art.  Victory 
alights  on  the  vessel  of  the  conqueror. 

Turn  to  your  L  just  before  reaching  the  last  flight,  and  pass 
several  Etruscan  sarcophagi  and  sarcophagus-shaped  funereal 
urns,  many  with  the  deceased  and  his  wife  on  the  lid,  accom- 
panied in  some  cases  by  protecting  genii.  The  early  Etruscans 
buried ;  the  later  often  burned  their  dead,  but  continued  to 
enclose  the  ashes  in  miniature  sarcophagi.  At  the  top,  on  the 
L,  a  fresco  by  Fra  Angelica^  the  Dominican  painter,  St. 
Dominic  embracing  the  Cross,  with  the  Madonna  and  St.  John 
Evangelist :  not  a  first-rate  example  of  the  master.  End  wall,  R 
of  door,  a  fresco  by  Botticelli,  Giovanni  Tomabuoni  receiving 
the  Muses.  Opposite  it,  L  of  door,  another  by  the  same, 
Giovanna  his  wife  receiving  the  Graces,  and  accompanied  by 
Cupid.  These  two  frescoes  stood  in  the  hall  of  the  owner's 
villa,  and  gracefully  typify  the  husband  entertaining  Literature, 
Science,  and  Art,  while  the  wife  extends  hospitality  to  Love, 
Youth,  and  Beauty.  Descend  one  flight  of  staircase  again, 
passing  yet  other  Etruscan  sarcophagi  (which  examine),  and, 
mounting  opposite  stairs,  pass  the  Nik&  and  turn  to  your  R. 
Traverse  the  photograph-room  and  the  Salle  Duch&tel  beyond 
it,  as  well  as  the  Salon  Carr^.  Enter  the  Long  Gallery,  and, 
taking  the  first  door  to  your  R,  you  arrive  at  once  in  Room  I 
(Baedeker's  VH),  the 

Salle  des  Primitifs. 

The  pictures  in  this  room  consist  for  the  most  part  of  those 
by  early  followers  of  Giotto,  and  by  members  of  the  schools 
which  sprang  from  him,  till  the  moment  of  the  Renaissance, 


'i* 


T 


»-i» 


t 


74 


PARIS 


[lU. 


As  these  earliest  pictures  strike  the  key-note  of  types,  continued 
and  developed  later,  it  is  absolutely  necessary  to  examine  ihcm 
a//  very  closely.  In  most  cases,  subject  and  treatment  were 
rigorously  prescribed  by  custom  ;  scenes  recur  again  and 
again,  almost  identically.  Where  saints  are  grouped  round  the 
Madonna,  they  were  ordered  by  the  purchaser,  and  oftenest 
represent  his  own  patrons.  In  order  to  obtain  a  chronological 
view,  begin  at  the  centre  of  the  end  wall.  Most  of  these 
pictures  are  altar-pieces.  I  follow  the  •mall  numbers  below, 
the  only  ones  for  which  a  detailed  catalogue  is  yet  published. 

♦  153,  Cimabite  (the  point  of  departure  for  Tusc.nn  art); 
Madonna  and  Child  with  six  angels.  Almost  a  replica  of  the 
great  picture  in  Santa  Maria  Novella  at  Florence  ;  gold 
ground ;  the  Madonna's  face  still  strongly  Byzantine  in  type, 
with  almond-shaped  eyes  j  the  Child,  draped,  after  the  earlier 
fas  1.  Later,  he  is  represented  nude.  Observe,  however, 
the  greater  artistic  freedom  in  the  treatment  of  the  attendant 
.ingels,  where  Cimabue  was  slightly  less  hampered  by  con- 
ventional precedents.  Do  not  despise  this  picture  because  of 
its  stiffness  and  its  archaic  style.  It  is  an  immense  advance 
upon  the  extremely  wooden  Hyzantine  models  which  preceded 
it :    and    in  the  angels  it    really  approaches  correctness    of 

drawing. 

225.  (Skied)  Don  Uremo  Monaco.  A  Tabernacle  for  an 
altar  of  St.  Lawrence  ;  centre,  St.  Lawrence,  enthroned  on  his 
gridiron ;  L,  St.  Agnes  with  her  lamb ;  R,  St.  Margaret  with  her 
dragon,  all  on  gold  grounds.  A  poor  example.  This  Saint  is 
usually  represented  in  deacon's  robes.  The  other  saints  are 
probably  those  who  shared  the  chapel  with  him.  See  the  much 
later  St.  Margaret  by  Raphael  as  an  example  of  Renaissance 
treatment  of  the  same  figure. 

*i<)2.  Giotto.  St.  Francis  receiving  the  Stigmata.  Agenume 
picture,  painted  for  the  saint's  own  Jiurch  of  San  Francesco  at 
Pisa ;  one  of  the  earliest  representations  of  this  subject,  often 
afterwards  copied.  Christ,  as  a  six-winged  seraph,  red- 
feathered,  appears  in  heaven  to  the  Saint ;  rays  proceed  from 
his  five  wounds  to  the  hands,  feet,  and  side  of  St.  Francis, 
which  they  impress  with  similar  marks.  A  mountain  repre- 
sents La  Vernia ;  two  tiny  buildings,  the  monastery.    Compare 


w 

O) 

4: 

2J 

c 

cl 
01 

tl 
p 
tl 

V( 

w 

S 

SI 

n 

b 


[III. 

pes,  continued 
examine  them 
eatment  were 
Lir  again  and 
ped  round  the 
,  and  oftenest 

chronological 
klost  of  these 
mbers  below, 
t  published. 

Tus.  an  art) ; 
replica  of  the 
orence  ;  gold 
intine  in  type, 
rter  the  earlier 
Erve,  however, 

the  attendant 
)ered  by  con- 
Lire  because  of 
nense  advance 
hich  preceded 
correctness   of 

crnacle  for  an 
;hroned  on  his 
rgaret  with  her 

This  Saint  is 
ther  saints  are 

See  the  much 
of  Renaissance 

ita.  A  genuine 
in  Francesco  at 
s  subject,  often 
1  seraph,  red- 
rs  proceed  from 
of  St.  Francis, 
lountain  repre- 
;ery.    Compare 


ili.J      KEXAISSANCE  PARIS  (/     E   LoUVRE)       75 

with  this  subject  two  smaller  trealmenti  in  the  same  room,  both 
on  the  lowest  tier  :  one,  to  the  l,  as  yoj  go  towards  the  door, 
431,  of  the  school  of  Ferugmo,  where  an  altei  'lant  llrolher 
^Leo)  is  seen  astonished  at  the  vision  ;  the  second  on  the  K, 
287,  attributed  to  Pcsello,  and  closely  similar  in  treatment. 
Careful  comparison  of  these  pictures  will  serve  to  show  the 
close  way  in  which  early  painters  imitated,  or  almost  copied 
one  another.  The  base  (or  predella)  of  the  Giotto  also  contains 
three  other  subjects  :  Innocent  111,  asleep,  is  shown  by  St. 
Peter  the  falling  church  sustained  by  St.  Francis  ;  he  confirms 
the  Franciscan  order ;  St.  Francis  preaches  to  the  birds.  All 
very  spirited.  Notice  these  little  pictures  for  comparison  later 
with  others  painted  in  the  Dominican  interest  by  Fra  Angeiico. 

Continuing  along  L  wall  are  some  small  pictures  of  the 
Sienese  school,  which  should  be  carefully  examined.  (Do  not 
suppose  that  because  1  do  not  call  attention  to  a  picture  it  is 
necessarily  unworthy  of  notice.)  Most  of  these  little  works 
bieathe  the  pure  piety  and  ecstatic  feeling  of  the  School  ot 
Siena. 

**426.  Perugino.  Tondo,  or  round  picture  ;  the  Madonna 
Enthroned  ;  L,  St.  Rose  with  her  roses  ;  R,  St.  Catherine  with 
her  palm  of  martyrdom  ;  behind,  adoring  angels.  An  exquisite 
example  of  the  affected  tenderness,  delicate  grace,  and  brilliant 
colouring  of  the  Umbrian  master,  from  whose  school  Raphael 
proceeded.  An  early  specimen.  Observe  the  dainty  painting 
of  the  feet  and  hands,  which  is  highly  characteristic. 

Beneath  it,  l^ol,  Gentile  da  Fabriano.  Presentation  in  the 
Temple.  Look  closely  into  it.  A  delicate  little  example  of  the 
Umbrian  rival  of  Fra  Angeiico.  The  arrangement  will  explain 
many  later  ones.  Every  one  of  the  figures  and  their  attitudes 
are  conventional. 

427.  Perus^ino.  Madonna  and  Child,  with  St.  John  Baptist 
and  St.  Catherine.  The  introduction  of  St.  John  shows  the 
picture  to  have  been  probably  painted  for  a  Florentine  patron. 
Not  a  pleasing  example. 

Beneath  it,  Vitlore  PisanOy  characteristic  portrait  of  an  Este 
princess,  in  the  hard,  dry,  accurate  manner  of  this  Veronese 
medallist,  who  borrowed  from  his  earlier  art  the  habit  of  paint- 
ing profiles  in  strong  low  relief,  with  a  plastic  effect. 


'# 


76 


PARIS 


[m. 


i 


PerugtHO.  St.  Sebastian.  One  of  the  loveliest  examples  of 
the  Umbrian  master's  later  manner.  Contrasted  with  the 
Madonna  and  St.  Rose  it  shows  the  distance  covered  by  art 
during  the  painter's  lifetime.  Observe  its  greater  freedom  and 
knowledge  of  anatomy.  St.  Sebastian,  bound  as  usual  to  a 
pillar  in  a  ruined  temple,  is  pierced  through  with  arrows. 
Face,  figure,  and  expression  are  unusually  fine  for  I'erugino. 
Sebastian  was  the  great  saint  for  protection  against  the  plague, 
and  pictures  containing  him  are  almost  always  votive  offerings 
under  fear  of  that  pestilence.  Many  in  this  gallery.  The  fare 
here  is  finer  than  in  any  other  presentation  I  know,  except 
Sodoma's  in  the  Uffizi  iii  Florence. 

358.  Lombard  or  Piedmontese  School.  Annunci.ition.  An 
unusual  treatment  ;  the  Madonna,  as  always,  kneels  at  a  prie- 
difu,  and  starts  away,  alarmed  and  timid,  at  the  apparition  of 
the  angel  Gabriel.  The  action,  as  usual,  takes  place  in  a 
hffgia,  but  the  angel  is  represented  as  descending  in  flifiiht 
through  the  air,  an  extremely  uncommon  mode  of  depicting 
him.  He  bears  the  white  lily  of  the  Annunciation.  The  other 
details  are  conventional.  Contrast  with  this  subsequent  An- 
nunciations in  this  Gallery.  L,  are  St.  Augustin  and  St.  Jerome ; 
R,  St.  Stephen,  bearing  on  his  head,  as  often,  the  stones  of 
his  martyrdom,  accompanied  by  St.  Peter  Martyr  the  Do- 
minican, with  the  knife  in  his  head.  Both  saints  carry  palms 
of  martyrdom.    A  good  picture  in  a  hard,  dry,  local  manner. 

Now  cross  over  to  the  opposite  side  of  the  room,  beginning 
at  the  bottom,  in  order  to  preserve  the  chronological  sequence. 

196.  School  of  Giotto.  Madonna  in  Glory,  with  angels. 
Compare  this  treatment  carefully  with  Cimabue's  great  picture 
close  by,  in  order  to  notice  the  advance  in  art  made  in  the 
interval.  The  subject  and  general  arrangement  are  the  same, 
but  observe  the  irregularity  in  the  placing  of  the  angels,  and 
the  increased  knowledge  of  anatomy  and  expression. 

Close  by  are  several  other  Qlottesque  pictures,  all  of  which 
should  be  closely  examined ;  especially  425.  Vi^nni,  the  same 
subject,  for  comparison.  The  little  Giottesque  Death  of  St. 
Bernard,  in  particular,  is  a  characteristic  example  or  type  of  a 
group  which  deals  in  the  same  manner  with  saintly  obsequies. 
All  of  them  will  suggest  explanations  of  later  pictures.     In  all 


[111. 

I  examples  of 
ted  with  the 
overed  by  art 
'  freedom  and 
as  usual  to  a 

with  arrows, 
for  I'erugino. 
St  the  plague, 
otive  ollcrinKS 
ry.    The  fare 

know,  except 

inciation.  An 
5els  at  a  prie- 
:  apparition  of 
es  place  in  a 
ding  in  flight 
B  of  depicting 
m.  The  other 
ibsequent  An- 
ad  St.  Jerome ; 
the  stones  of 
utyr  the  Do- 
ts carry  palms 
ical  manner, 
om,  beginning 
ical  sequence. 
,  with  angels. 
I  great  picture 
:  made  in  the 
t  are  the  same, 
lie  angels,  and 
lion. 

is,  all  of  which 
•mnif  the  same 
Death  of  St. 
le  or  type  of  a 
ntly  obsequies, 
ctures.     In  all 


III]       RENAISSANCE  PARIS  (THE  LOUVRE)       TJ 

these  cases,  the  saint  lies  on  a  bier  in  the  foreground,  sur- 
rounded by  mourning  monks  and  ecclesiastics.  The  key-note 
was  struck  by  (iiotto's  fresco  of  the  Death  of  St.  Francis  at 
Santa  Croce  in  Florence. 

187.  AgHolo  Gaddi.  Annunciation  j  a  characteristic  ex- 
ample. Note  the  loggia,  and  the  angel  with  the  lily  ;  the 
introduction  of  a  second  angel,  however,  is  a  rare  variation 
from  the  type.  In  the  corner  is  the  Father  despatching  the 
Holy  Spirit.  Attitude  of  the  Madonna  characteristic  ;  study 
carefully.  No  subject  sheds  more  light  on  the  methods  of 
early  art  than  the  Annunciation.  It  always  takes  place  in  an 
arcade  :  the  Madonna  is  almost  always  to  the  right  of  the 
picture  :  and  prie-dieu,  book,  and  bed  are  frequent  accessories. 

666.  Quaint  little  Florentine  picture  of  St.  Nicolas,  throwing 
three  purses  of  gold  as  a  dowry  inside  the  house  of  a  poor  and 
starving  nobleman. 

Next  to  it,  unnumbered,  Gregory  the  Great  sees  the  Angel  of 
the  Plague  sheathing  his  sword  on  the  Castle  of  St.  Angelo,  so 
called  from  this  vision. 

494-  St.  Jerome  in  the  Desert ;  lion,  skull,  crucifix,  rocks, 
cardinal's  hat,  all  characteristic  of  the  subject.  In  the  fore- 
ground, a  Florentine  lily ;  in  the  background,  Christ  and  the 
infant  Baptist,  patron  of  Florence  ;  background  L,  St.  Augus- 
tine and  the  angel  who  tries  to  empty  the  sea  into  a  hole  made 
with  a  bucket— a  well-known  allegory  of  the  attempt  of  the 
finite  to  comprehend  the  Infinite.  Look  out  elsewhere  for  such 
minor  episodes. 

Fra  Angelico.  Martyrdom  of  Sts.  Cosmo  and  Damian,  the 
holy  physicians  and  (therefore)  patron  saints  of  the  Medici 
family ;  a  characteristic  example  of  the  saintly  friar's  colouring 
in  small  subjects.  These  two  Medici  saints  are  naturally 
frequent  in  Florentine  art. 

662.  Fra  Angelico.  Story  of  the  death  of  St.  John  Baptist. 
Three  successive  episodes  represented  in  the  same  picture. 
The  lithe  figure  of  the  daughter  of  Herodias,  dancing,  is  very 
characteristic. 

166.  Battle  scene,  by  Paolo  Uccello.  Showing  vigorous 
efforts  at  mastery  of  perspective  and  foreshortening,  as  yet  but 
partially  successful.     The  wooden  character  of  the  horses  is 


mm 


;.^S6SSkK»><-». 


iil 


conspicuous.  Paolo  Uccello  xvas  one  of  the  group  of  early 
scientific  artists,  who  endeavoured  to  improve  their  knowledge 
of  optics  and  of  the  sciences  ancillary  to  painting. 

,99.  Benozzo  Gozzoli.    Glory  of  St.  Thomas  Aqumas   the 
great  Dominican  teacher.    This  is  an  apotheosis  of  scholasti- 
cism, in  the  person  of  its  chief  representative.    R  and  L  stand 
Aristotle  and  Plato,  the  heathen  philosophers   m  deferential 
attitudes,  recognising  their  master.    Beneath  h.s  feet  is  Gu.l- 
laume  de  St.  Amour,  a  vanquished  heretic.    Below,  the  entire 
Church-pope,  cardinals,  doctors-receiving  instruction  from 
St.  Thomas.    Above,  the  Eternal  Father  signifying  His  ap- 
proval in  a  Latin  inscription,  surrounded  by  the  Evangelists 
with  their  symbols-angel,  winged  lion,  bull,  eagle     The  in- 
scription imports,  "Thomas  has  well  spoken  "f  Me.       The 
style  is  archaic :  the  council  is  supposed  to  be  that  of  Agnani, 
presided  over  by  Pope  Alexander  IV.    Among  the  celestial 
Lrsouages,  notice  St.  Paul,  Moses,  and  others.    P'ctures  of 
this  double  sort,  embracing  scenes  in  heaven  and  on  earth,  are 

common  in  Italy.  r»on,;nn 

Beneath  it  (287),  part  2.  Pesello.  St.  Cosmo  and  St.  Damian 
affixing  the  leg  of  a  dead  Moor  to  a  wounded  Christian  on 
whom  they  have  been  compelled  to  practise  amputation.  The 
costumes  are  the  conventional  ones  for  these  saints.  Remem- 
ber them.  This  astounding  miracle  is  often  represented  at 
Florence  :  the  dead  man's  leg  grew  on  the  living  one. 

**,82   Fra  Angelica.   A  Coronation  of  the  Virgin,  painted  for 
a  Dominican  church  at  Fiesole.    In  the  foreground,  St.  Louis 
of  France,  with  a  crown  of  fleur-de-lis  ;  St.  Zenobms,  Bishop  of 
Florence,  with  the  lamb  of  the  Baptist  on  his  crosier  (indicating 
his  see) ;  St.  Mary  Magdalen,  in  red,  with  long  yellow  hair  (so 
almost  always),  and  (her  symbol)  the  box  of  ox^M^Jy 
Catherine  with  her  wheel ;  St.  Agnes  with  her  lamb,  and  others. 
Above  St.  Louis  stands  St.  Dominic,  founder  of  Fra  Angelicos 
order,  recognisable  by  his  robes,  with  his  red  star  and  white 
lily  (the  usual  attributes) ;  beneath  him,  a  little  to  the  R,  St. 
Thomas  Aquinas,  with  a  book  sending  forth  rays  of  light  to 
signify  his  teaching  function.    Near  him   St.  Francis^    Other 
Saints,  such  as  St.  Lawrence  w.  ;i  h.s  gridiron,  and  St  Peter 
Martyr,  the  Dominican,  with  his  wounded  head,  must  be  left  to 


[HI. 

jroiip  of  early 
leir  knowledge 

T 
>• 

3  Aquinas,  the 
iis  of  scholasti- 

R  and  L  stand 
,  in  deferential 
lis  feet  is  Guil- 
;low,  the  entire 
nstruction  from 
lifying  His  ap- 
the  Evangelists 
eagle.    The  in- 

of  Me."  The 
that  of  Agnani, 
ing  the  celestial 
!rs.  Pictures  of 
id  on  earth,  are 

and  St.  Damian 
ed  Christian,  on 
nputation.  The 
saints.  Remem- 
1  represented  at 
ng  one. 

Virgin,  painted  for 
[round,  St.  Louis 
nobius,  Bishop  of 
rosier  (indicating 
ig  yellow  hair  (so 
of  ointment ;  S* 
lamb,  and  others, 
of  Fra  Angelico's 
id  star  and  white 
ttle  to  the  R,  St. 
1  rays  of  light,  to 
;.  Francis.    Other 
jr,  and  St.  Peter 
id,  must  be  left  to 


ISS 


(II.]      RENAISSANCE  PARIS   THE  (.LOW RE)       79 

the  spectator.  In  the  background,  choirs  of  angels.  Beneath, 
in  the  predella,  the  history  of  St.  Dominic  (marked  by  a  red 
star) ;  Pope  Innocent  in  a  dream  sees  him  sustaining  the  falling 
Church  (a  Dominican  variant  of  the  story  of  St.  Francis  in  the 
Giotto,  at  rhe  end) :  he  receives  his  commission  from  St.  Peter 
and  St.  Paul ;  he  restores  to  life  the  young  man  Napoleon,  killed 
by  a  fall  from  a  horse  (seen  to  left) ;  he  converts  heretics  and 
burns  their  books  ;  he  is  fed  with  hi?  brethren  by  angels  in  his 
convent  at  Rome  ;  and  his  death  and  apotheosis.  This  picture 
deserves  most  careful  study— say  two  hours.  It  is  one  of  Fra 
Angelico's  finest  easel  paintings  (his  best  are  frescoes),  and  it 
is  full  of  interest  for  its  glorification  of  the  Dominicans.  Com- 
pare the  St.  Thomas  Aquinas  with  Benozzo  Gozzoli's :  and 
remember  in  studying  the  predella  that  St.  Dominic  founded 
the  Inquisition.  The  tender  painting  of  this  lovely  work  needs 
no  commendation. 

222.  School  of  FiUppo  Lippi.  Madonna  and  angels,  charac- 
teristic of  the  type  of  this  painter  and  his  followers. 

Above  it,  Neri  di  Bicci.  Madonna,  very  wooden.  He  was  a 
belated  Giottesque,  who  turned  out  such  antiquated  types  by 
hundreds  in  the  isth  century. 

School  of  Benozzo  Gozzoli.  Madonna  and  Child.  L,  St. 
Cosmo  and  St.  Damian,  with  pens  and  surgeons'  boxes  -,  St. 
Jerome,  with  stone,  lion,  and  cardinal's  hat ;  his  pen  and  book 
denote  him  as  translator  of  the  Vulgate.  R,  St.  John  Baptist 
(representing  Florence) ;  St.  Francis  with  the  Stigmata  ;  St. 
Lawrence.  The  combination  of  Saints  shows  the  picture  to 
have  been  painted  in  compliment  to  Lorenzo  de'  Medici.  Minor 
subjects  around  it  are  worthy  of  study. 

Now  cross  over  tfie  room  again.  You  come  at  once  upon 
four  pictures  of  nearly  the  same  size,  painted  for  the  Court  of 
the  Gonzaga  family  at  Mantua.  Allegorical  subjects,  intended  for 
the  decoration  of  a  hall  or  boudoir.  Most  of  those  pictures  we 
have  hitherto  examined  have  been  sacred :  we  now  get  an 
indication  of  the  nascent  Renaissance  taste  for  myth  and 
allegory. 

429.  Perugino.  Combat  of  Love  and  Chastity.  A  frequent 
subject  for  such  situations,  showing  Perugino  at  his  worst. 
Compare  it  with  the  other  three  of  the  series. 


\ 


80 


PARIS 


[ill. 


in 


253.  Mantegna.  Wisdom  conquering  the  Vices.  A  charac- 
teristic but  unpleasing  example  of  this  great  Paduan  painter. 
Admirable  in  anatomy,  drawing,  and  perspective:  poor  in  effect. 
Observe  the  festoons  in  the  background,  which  are  favourites 
with  the  artist  and  his  school. 

♦252.  Mantegna.  The  amours  of  Mars  and  Venus  dis- 
covered by  (her  husband)  Vulcan.  A  beautiful  composition. 
The  guilty  pair,  with  a  couch,  stand  on  a  mountain,  represent- 
ing Parnassus,  accompanied  by  Cupid.  Below,  exquisite  group 
of  the  Nine  Muses  dancing  (afterwards  imitated  by  Guido). 
To  the  L,  Apollo  with  his  lyre,  as  musician.  R,  Mercury  and 
Pegasus.  In  the  background,  the  injured  Vulcan  discovering 
the  lovers.  This  splendid  specimen  of  early  Renaissance  art 
is  one  of  Mantegna's  finest.  Study  it  in  detail,  and  compare 
with  the  other  three  which  it  accompanies.  Observe  the  life 
and  movement  in  the  dancing  Muses  :  also,  the  growing 
Renaissance  love  for  the  nude,  exemplified  in  the  Venus. 

154.  Cw/a.  The  Court  of  Isabella  d'Este.  The  meaning  of 
the  figures  is  now  undecipherable,  but  the  general  character 
indicates  peace,  and  devotion  to  literature,  science  and  art.  A 
fine  example  of  the  Ferrarese  master. 

Between  these  four,  ** Mantegna  ;  (251),  Madonna  della  Vit- 
toria,  a  most  characteristic  picture,  painted  for  Giovanni 
Francesco  Gonzaga,  Marquis  of  Mantua,  to  commemorate  his 
victory  over  Charles  VIII  of  France.  The  Madonna  is  en- 
throned under  a  most  characteristic  canopy  of  fruit  and  flowers, 
with  pendents  of  coral  and  other  decorative  adjuncts,  l,  Gonza- 
ga himself,  kneeling  in  gratitude— a  ruffianly  face,  well-painted. 
R,  St.  Elizabeth,  mother  of  the  Baptist,  with  St.  John  Baptist 
himself,  representing  the  Marquis's  wife.  Behind,  the  patron 
Saints  of  Mantua,  who  assisted  in  the  victory  :  St.  Michael  the 
Archangel  (the  warrior  saint— a  most  noble  figure),  St.  Andrew 
(Mantegna's  name-Saint),  St.  Longinus,  who  pierced  the  side  of 
Christ,  and  St.  George.  The  whole  is  exquisitely  beautiful. 
The  detail  deserves  long  and  attentive  study.  The  reliefs  on 
the  pedestal  are  characteristic.  From  the  church  of  the  same 
name,  erected  in  commemoration  of  the  victory  (of  the  Taro), 
I  will  return  hereafter  at  greater  length  to  this  lovely  picture. 
Above,  to  the  L  (*4i8),  Cosiino  Tura.  PictJi,  or  body  of  Christ 


we 

inj 

an 

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fur 

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Ro 

ing 

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rou 

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the; 

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sam 

2: 

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[ill. 

IS.    A  charac- 

iduan  painter. 

poor  in  effect. 

are  favourites 

d  Venus  dis- 
1  composition, 
ain,  represent- 
ixquisite  group 
5d  by  Guido). 

Mercury  and 
m  discovering 
Lenaissance  art 
,  and  compare 
bserve  the  life 

the   growing 
!  Venus, 
he  meaning  of 
leral  character 
ce  and  art.    A 

)nna  della  Vit- 
for  Giovanni 
mmemorate  his 
[adonna  is  en- 
uit  and  flowers, 
lets.  L,  Gonza- 
e,  well-painted, 
t.  John  Baptist 
ind,  the  patron 
St.  Michael  the 
ire),  St.  Andrew 
;rced  the  side  of 
sitely  beautiful. 
The  reliefs  on 
rch  of  the  same 
y  (of  the  Taro). 
lovely  picture. 
ir  body  of  Christ 


III.]      RENAISSANCE  PARIS  {THE  LOUVRE)       8l 

wept  over  by  the  Madonna  and  angels.  In  drawing  and  colour- 
ing, a  characteristic  example  of  this  harsh,  but  very  original 
and  powerful,  Ferrarese  master.  You  will  come  hereafter  on 
many  Pictks.  Compare  them  all,  and  note  the  attitude  and 
functions  of  the  angels. 

Cross  over  again  to  the  opposite  side.  (183),  Botticelli. 
Round  Madonna  and  angels,  very  characteristic  as  to  the  draw- 
ing, but  inferior  in  technique  to  most  of  his  works. 

121.  Filippo  Lippi.  Madonna  in  Glory,  with  angels.  The 
roundness  of  the  faces,  especially  in  the  child  angels,  is  very 
characteristic.  At  her  feet,  two  Florentine  patron  saints.  The 
absence  of  symbols  makes  them  difficult  to  identify,  but  I  think 
they  represent  St.  Zenobius  and  St.  Antonine.    Very  fine. 

184.  Botticelli.  Madonna  and  Child,  with  St.  John  ot 
Florence.  The  wistful  expressions  strike  the  key-note  of  this 
painter.  Compare  with  nameless  Florentine  Madonna  of  the 
same  school  above  it. 

220.  Fra  Filippo  Lippi.  Nativity.  Worthy  of  careful  study, 
especially  for  the  accessories  :  St.  Joseph,  the  stall  and  bottle, 
the  saddle,  ox  and  ass,  and  wattles,  ruined  temple,  etc.,  which  re- 
appear in  many  similar  pictures.  Not  a  favourable  example  of 
the  master.  Beneath  it,  little  fragments  with  St.  Peter  Martyr, 
Visitation,  Christ  and  Magdalen,  meeting  of  Francis  and  Domi- 
nic, and  St.  Paul  the  Hermit.  An  odd  conglomeration,  whose 
meaning  cannot  now  be  deciphered.  The  ruined  temple,  fre- 
quently seen  in  Nativities  and  Adorations  of  the  Magi,  typifies 
the  downfall  of  Paganism  before  the  advance  of  Christianity. 

Beside  it,  Ghirlandajo.  Portrait  of  bottle-nosed  man  and 
child.    Admirable  and  characteristic. 

**  202.  Ghirlandajo.  Visitation.  Probably  the  master's  finest 
easel  picture.  Splendid  colour.  Attitudes  of  the  Madonna 
and  St.  Elizabeth  characteristic  of  the  type.  The  scene  habitu- 
ally takes  place  in  front  of  a  portal,  as  here,  with  the  heads  of 
the  main  actors  more  or  less  silhouetted  against  the  arch  in  the 
background.  At  the  sides,  Mary  Salome,  and  "the  other 
Mary."  Such  saints  are  introduced  merely  as  spectators  :  they 
need  not  even  be  contemporary :  they  are  included  in  purely 
ideal  groupings.  At  Florence,  in  a  similar  scene,  the  as  yet 
unborn  St.  John  the  Baptist  stands  by  as  an  assessor. 

F 


,8s.  Venus  and  Cupid,  of  the  school  of  BoUicelli.     Very 

**' 347"L«>««  Rosselli.  Madonna  in  an  almond-shaped  glory 
(Mandorla)  of  red  and  blue  cherubs.  L,  the  Magdalen  ;  R.  S  • 
Bernard,  to  whom  she  appeared,  writing  down  h.s  v.s.on  ;  ab cut 
adoring  angels.    A  characteristic  example  of  this  harsh  Floren- 

""*  rwe'come  at  once  upon  the  High  Renaissance  \n  Lorenzo 
di  CredPs  beautiful  Virgin  and  Child,  flanked  by  St.  Juhan  and 
St  Nicholas.  Observe  the  three  balls  of  gold  in  the  corner  by 
the  lattefs  feet,  representative  of  the  three  purses  thrown  to 
he  nobleman's  daughters.  Notice  also  the  R----«  ^f^ 
tecture  and  decorations.  In  pictures  of  th.s  class,  the  samts  to 
accompany  the  Madonna  were  ordered  \,y  the  person  g.vmg  the 
commission;  the  artist  could  only  exercise  h^  *^r'*'°Ttie 
the  grouping.  Notice  how  this  varies  with  the  advance  of  the 
Renaissance:  at  first  stiffly  placed  in  pairs,  the  samts  finaUy 
foTa  group  with  characteristic  action.  The  execution  of  this 
Sy  work  shows  Lorenzo  as  one  of  the  finest  art.sts  of  h.s 

^"t^Bianchi,  a  rare  Ferrarese  master.  Madonna  enthroned, 
with  Saints.  The  angel  on  the  step  is  characteristically  Per- 
rarese.  as  are  also  the  reliefs  and  architecture. 

467.  Ascetic  figure  of  San  Giovanni  di  Cap.strano. 

435.  School  of  Perugino.  Little  Madorjna,  m  an  almo^d. 
shtped  glory  of  cherubs.    The  shape  belongs  to  Christ,  or 

'-t^^T^T^,  containing  the  story  of  Europa 
and  the  Bull.  Several  episodes  are  combined  in  a  single 
picture.  To  the  extreme  L,  the  transformed  lover,  like  the 
prince  in  a  fairy  tale.    Most  gracefully  treated 

61  Bellini.  Madonna  and  Child,  between  St  Peter  and  St. 
Sebastian  ;  a  plague  picture.  These  half-length  Madonnas  are 
very  characteristic  of  Venetian  art  of  the  period.  The  Ma- 
donna's face  and  strong  neck  also  very  Venetian.  Obsen  .  them 
as  the  type  on  which  Titian's  are  modelled.  Look  long  at  this 
soft  and  melting  picture.  The  gentle  noble  face,  the  dainty 
dress?the  beautiful  painting  of  the  nude  in  the  St.  Sebastian, 
are  all  redolent  of  the  finest  age  of  Venetian  painting. 


id-shaped  glory 
agdalen ;  R,  St. 
lis  vision  ;  abc  ut, 
is  harsh  Floren- 

sance  in  Lorenzo 
ly  St.  Julian  and 
in  the  corner  by 
(urses  thrown  to 
inaissance  archi- 
ass,  the  saints  to 
person  giving  the 
!  discretion  as  to 
e  advance  of  the 
the  saints  finally 
execution  of  this 
lest  artists  of  his 

ionna  enthroned, 
acteristically  Fer- 

strano. 

a,  in  an  almotid- 

ngs  to  Christ,  or 

story  of  Europa 
lined  in  a  single 
ed  lover,  like  the 
;d. 

St  Peter  and  St. 
igth  Madonnas  are 
period.  The  Ma- 
ian.    Obser'"!  them 

Look  long  at  this 
le  face,  the  dainty 
the  St.  Sebastian, 
painting. 


RENAISSANCE  PARIS  {THE  LOUVRE)       83 


Above  it,  a  good  Tura.    Compare  with  previous  one. 

60.  School  of  Gentile  Bellini.  Venetian  ambassador  re- 
ceived at  Cairo.  Oriental  tinge  frequent  at  Venice.  This  gate 
can  still  be  recognised  at  Cairo.  The  figures  are  all  portraits, 
and  the  painter  probably  accompanied  the  ambassador, 
Domenico  Trevisano. 

Beneath  it  (59),  two  fine  portraits  by  Gentile  Bellini. 

664.  Characteristic  little  Montagna ;  angels  at  the  base  of  a 
Madonna  now  destroyed.  Compare  the  Bianchi  almost  oppo- 
site.   Such  angels  are  frequent  in  the  school  of  Bellini. 

152.  Attributed  to  Cima.  Madonna  Enthroned,  with  St.  John 
Baptist  and  the  Magdalen.  These  lofty  thrones  and  landscape 
backgrounds  of  the  Friuli  country  are  frequent  with  Cima  and 
Venetian  painters  of  his  period. 

113.  Carpaccio,  Preaching  of  St.  Stephen.  One  of  a  series 
of  the  Life  of  St  Stephen,  now  scattered.  The  saint  is  in 
deacon's  robes,  as  usual ;  oriental  costumes  mark  the  inter- 
course of  Venice  with  the  East.  Observe  the  architecture,  a 
graceful  compound  of  Venetian  and  oriental. 

Over  the  doorway.  Fresco  of  God  the  Father,  in  an  almond- 
shaped  glory,  from  the  Villa  Magliana.  Purchased  as  a 
Raphael,  probably  by  Lo  Spagna. 

Return  frequently  to  this  room,  and  study  it  deeply.  It  will 
give  you  the  key  to  all  the  others. 

Now  traverse  the  Salon  Carrd  and  enter  the 
Salle  DuchAtel. 

On  the  R  wall  are  two  exquisite  frescoes  by  Luini,  removed 
entire  from  walls  in  Milan.  To  the  l,  the  Adoration  of  the 
Magi,  exquisitely  tender  and  graceful ;  study  it  closely  as  an 
example  both  of  painter  and  subject,  noting  the  ages  and  atti- 
tudes of  the  Three  Kings,  the  youngest  (as  usual)  a  Moor,  and 
the  exquisite  face  and  form  of  the  Madonna.  To  the  R,  a 
Nativity,  equally  characteristic.  Look  long  at  them.  Between, 
Christ  blessing,  not  quite  so  beautiful ;  and  Genii  with 
grapes,  an  antique  motive.  Above  are  three  other  frescoes 
of  the  school  of  Luini,  not  so  fine.  Centre,  Annunciation,  the 
Madonna  separated  (as  often)  from  the  angel  by  a  lily.  The 
Madonna  never  approaches  the  angel,  and  is  usually  dividtd  by 
a  wall  or  barrier. 


I 


•;( 


Mi 


84 


PARIS 


[III. 


On  the  screen  by  door,  good  portraits  by  Antonio  Mora. 
Other  side  of  door  (680),  Madonna  and  Child,  wUh  the 
donors  of  the  picture,  by  Hans  Memling.     This  beautiful 
Flemish  picture  well  represents  the  characteristics  of  Flemish 
as  opposed  to  Italian  art.    Notice  the  want  of  ideality  in  the 
Virgin  and  Child,  contrasted  with  the  admirable  portraiture  of 
the  donors,  the  chief  of  whom  is  introduced  by  his  namesake, 
St    James,  recognisable  by  his  staff  and  scallop-shell.      Ihe 
female  donors,  several  of  whom  are  Dominican  nuns,  are 
similarly  introduced  by  their  founder,   St.    Dominic,  whose 
black-and-white  robes  and  star-like  halo  serve  to  identify  h.m. 
Observe  the  exquisite  finish  of  the  hair  and  all  the  details. 
Study  this  work  for  the  Flemish  spirit. 

At  the  far  end  of  the  room  are  two  pictures  by  Ingres, 
marking  the  interval  covered  by  French  art  during  the  life- 
time of  thr,t  great  painter.  L,  (Edipus  and  the  Sphinx  pro- 
duced in  the  classical  period  of  the  master's  youth  while  he 
was  still  under  the  malign  influence  of  David.  R,  La  Source 
perhaps  the  most  exquisitely  virginal  delineation  of  the  nude 
ever  achieved  in  painting. 

After  having  traversed  these  two  rooms  the  spectator  will 
probably  be  able  to  attack  the 

Salon  Carr^, 
which  contains  what  are  considered  by  the  authorities  as  the 
Ims  of  the  collection,  irrespective  of  period  or  country  (a  very 
feg^ettable  jumble).  Almost  all  of  them,  therefore,  deserve 
auen  on.  I  shall  direct  notice  here  chiefly  to  those  which 
"e  some  explanation.  Begin  to  the  L  of  the  door  which 
leads  from  the  Salle  Duchatel. 

Clo  e  to  the  door,  Apollo  and  Marsyas  :  a  delicate  1.  tie 
P^rZno,  attributed  to  Raphael.  Good  treatment  of  the 
nude  Ind  painted  like  a  miniature.  Renaissance  feel.ng. 
Compare  it  ^ith  the  St.  Sebastian  in  the  Salle  des  Pr.m.tifs^ 
Above  it,  Jehan  de  Paris.  Madonna  and  Ch,  d,  with  the 
donors  ;  a  hlracteiistic  and  exceptionally  beautiful  exarnple  of 
the  eariy  French  school.  Contrast  its  character  with  the 
Italian  and  Flemish.  Extremely  regal  and  fond  of  tinsel 
ornament. 


[HI. 

mio  Moro. 
Ihild,  with  the 
This  beautiful 
tics  of  Flemish 
■  ideality  in  the 
:  portraiture  of 

his  namesake, 
lop-shell.  The 
lean  nuns,  are 
)ominic,  whose 
to  identify  him. 

all  the  details. 

iires  by  Ingres, 
during  the  life- 
he  Sphinx,  pro- 
youth,  while  he 
.  R,  La  Source, 
tion  of  the  nude 

he  spectator  will 


uthorities  as  the 
ir  country  (a  very 
herefore,  deserve 
r  to  those  which 
f  the  door  which 

:  a  delicate  little 
reatntent  of  the 
laissance  feeling, 
ille  des  Primitifs. 
d  Child,  with  the 
autiful  example  of 
laracter  with  the 
id  fond  of  tinsel 


li  iiiiiiil 


III.]       RENAISSANCE  PARIS  {THE  LOUVRE)       85 

20.  Correggio.  Jupiter  and  Antiope,  a  good  example  of  his 
Correggiosity  and  marvellous  arrangement  of  light  and  shade. 
Very  late  Renaissance.    Perfection  of  art ;  very  little  feeling. 

•446.   Titian.    Entombment.    A  fine  but  faded  example  of 
the  colour  and  treatment  of  the  prince  of  the  Venetian  Re- 
naissance. 
231.  Luini.    Virgin  and  Child.    Not  a  pleasing  example. 
•419  and  ••417.    Two  admirable  portraits  by  Rembrandt. 
••250.  Mantegm.    Crucifixion,  predella  or  base  of  the  great 
picture  in  San  Zeno  at  Verona.    Notice  the  admirable  antique 
character  of  the  soldiers  casting  lots  for  Christ's  raiment.     The 
rocks  are  very  Mantegnesque  in  treatment.    One  of  the  artist's 
finest  pictures.    Spend  some  time  before  it.    We  will  return 
again  to  this  fine  painting. 

381.  Andrea  del  Sarto.  Holy  Family.  Showing  well  the 
character  of  this  master's  tender  and  melting  colour :  also,  the 
altered  Renaissance  treatment  of  the  subject. 

Beyond  the  doorway,  two  dainty  little  Mendings.  Marriage 
of  St.  Catherine  (the  Alexandrian  princess)  to  the  Infant  Christ ; 
and,  the  Donor  with  St.  John  Baptist  and  his  lamb.  When  a 
saint  places  his  hand  on  a  votary's  shoulder,  it  usually  indicates 
ihe  patron  whose  name  the  votary  bears. 

Near  it,  graceful  little  St.  Sebastian  of  the  Umbrian  school. 
Compare  with  others.  This  plague-saint  is  one  of  the  few  to 
whom  mediaeval  piety  permitted  nudity. 

*37o.  Raphael.  The  great  St.  Michael,  painted  for  Frangois 
I".  Admirable  in  its  instantaneous  dramatic  action.  This  pic- 
ture may  be  taken,  in  its  spirit  and  vigour,  as  marking  the  cul- 
minating point  of  the  Italian  Renais.'iance  as  here  represented. 
Near  it,  Titian.  The  Man  with  the  Glove  :  a  fine  portrait. 
**I9.  Correggio.  The  Marriage  of  St.  Catherine.  This  is  a 
characteristic  treatment,  by  the  great  painter  of  Parma,  of  this 
mystical  subject.  St.  Catherine  is  treated  as  an  Italian 
princess  of  his  own  time,  on  whose  finger  the  infant  Christ 
playfully  places  a  ring.  The  action  has  absolutely  no  mystic 
solemnity.  Behind,  stands  St.  Sebastian,  with  his  arrows  to 
mark  him  (without  them  you  would  not  know  him  from  a 
classical  figure),  looking  on  with  amused  attention.  His  smile 
is  lovely.     In  the  background,  episodes  of  the  martyrdom  of 


Tl 


.ffp 


86 


PARIS 


h\ 


[m. 


!^5 


|i  t 


St.  Sebastian,  proving  this  to  be  probably  a  plague  picture. 
But  the  whole  work,  though  admirable  as  art,  has  in  it  nothing 
of  religion,  and  may  be  aptly  compared  as  to  tone  with  the 
Education  of  Cupid  by  the  same  artist  in  the  National  Gallery. 
Nothing  could  surpass  the  beauty  of  the  light  and  shade,  and 
the  exquisite  colouring.  Study  it  as  a  type  of  the  last  word  of 
the  humanist  Renaissance  against  medi.xval  spirituality.  Com- 
pare it  with  the  Memling  close  by  ;  nnd,  if  you  have  been  at 
Milan,  with  the  exquisitely  dainty  Luini  in  tha  Toldi-Pezzoli 
Museum. 

Above  it,  a  Holy  Family  by  Murillo.  Spanish  and  theatrical. 

The  greater  part  ot  this  wall  is  taken  up  by  an  enormous 
canvas  (95),  by  Paolo  Veronese,  representing  the  Marriage  at 
Cana  of  Galilee,  from  the  refectory  (or  dining-hall)  of  San 
Giorgio  Maggiore  at  Venice.  Pictures  of  this  subject,  or  of 
the  Last  Supper,  or  of  the  Feast  in  the  House  of  Levi,  were 
constantly  placed  as  appropriate  decorations  to  fill  the  end 
wall  of  monastic  refectories  (like  the  famous  Lionardo  at 
Mila..),  and  were  often  therefore  gigantic  in  size.  This  mon- 
strous and  very  effective  composition  (proudly  pointed  out  by 
the  guides  as  "  the  largest  oil  painting  in  the  world  ")  contains 
nothing  of  sacred,  and  merely  leflects  with  admirable  skill  the 
lordly  character  of  the  Italian  Renaissance.  In  the  centre  of 
the  table,  one  barely  notices  the  figures  of  the  Christ  and  the 
Madonna.  Attention  is  distracted  both  from  them  and  from 
the  miracle  of  the  wine  by  the  splendid  architecture  of  the 
background,  the  loggias,  the  accessories,  and  the  gorgeous 
guests,  many  of  them  representing  contemporary  sovereigns 
(among  them  Francois  I",  Eleanor  of  Austria,  Charles  V,  and 
Sultan  Soliman).  The  group  of  musicians  in  the  centre  fore- 
ground is  also  composed  of  portraits — this  time  of  contem- 
porary painters  (Titian,  Tintoretto,  etc.).  As  a  whole,  a  most 
characteristic  picture  both  of  the  painter  and  his  epoch,  worth 
some  study,  and  full  of  good  detail. 

**39.  Giorgione.  Pastoral  scene,  with  nude  figures.  One  of 
the  few  undoubted  pictures  by  this  master,  whose  genuineness 
is  admitted  by  Morelli,  though  much  repainted.  Should  be 
studied  as  an  example  of  the  full  flush  of  the  Venetian  Renais- 
sance, and  of  the  great  master  who  so  deeply  affected  it. 


1 


lague  picture, 
in  it  nothing 
tone  with  the 
tional  Gallery, 
ind  shade,  and 
s  last  word  of 
tuality.  Com- 
u  have  been  at 
B  I'oldi-Pezzoli 

and  theatrical, 
y  an  enormous 
ie  Marriage  at 
g-hall)  of  San 
1  subject,  or  of 
e  of  Levi,  were 
to  fill  the  end 
IS    Lionardo  at 
ize.    This  mon- 
pointed  out  by 
irorld")  contains 
nirable  skill  the 
In  the  centre  of 
»  Christ  and  the 
them  and  from 
:hitecture  of  the 
id  the  gorgeous 
orary  sovereigns 
I,  Charles  V,  and 
I  the  centre  fore- 
time of  contem- 
5  a  whole,  a  most 
his  epoch,  worth 

:  figures.  One  of 
hose  genuineness 
inted.  Should  be 
Venetian  Renais- 
leeply  affected  it. 


RENAISSANCE  PARIS  {THE  LOUVRE)       87 


Notice  the  admirable  painting  of  the  nude,  and  the  fine  land- 
scape in  the  background.  Contrast  with  the  Bellinis  in  the 
Salle  des  Primilifs,  in  order  to  mark  time  and  show  the  advance 
in  technique  and  spirit.  Giorgione  set  a  fashion,  followed  later 
by  Titian  and  others.  Compare  this  work  with  Titian's  Jupiter 
and  Antiope  in  the  Long  Gallery. 

Above  it  (*427) /?«*^«J.  Adoration  of  the  Magi.  A  splendid 
picture.  Interesting  also  as  showing  how  far  Rubens  trans- 
formed the  conceptions  of  the  earlier  masters.  Compare  it  with 
the  Luini  in  the  Salle  Duchdtel,  and  other  Adorations  in  this 
gallery.  Full  of  gorgeousness,  dash,  and  certainty  of  execu- 
tion. 

37.  Anifltiello  (la  Messina.  Characteristic  hard-faced  portrait 
hy  this  exrellent  .Sirilian  artist. 

**459.  I imttiio-  St.  Anne  and  the  Virgin.  This  great 
Arlitt  can  be  better  studied  in  the  Louvre  than  anywhere  else  in 
the  world.  This  picture,  not  perhaps  entirely  by  his  ow/  hand, 
is  noticeable  for  th«  beautiful  and  very  Ijonardesque  face  of 
St.  Anne,  the  playful  figU*6  ///  the  infant  Christ,  and  the  admir- 
able blue-toned  landscape  in  the  background.  The  sjniles  are 
also  thoroughly  Lionardesque.  Notice  the  excellent  drawing 
of  the  feet.  The  curious  composition  —the  Virgin  sitting  on 
St.  Anne's  lap— is  traditional.  Two  or  three  examples  of  it 
occur  in  the  National  Gallery.  Lionardo  transformed  it.  He 
is  the  great  scientific  artist  of  the  Florentine  Renaissance. 

208.  Hans  Holbein,  the  younger.  Admirable  portrait  of 
Erasmus.  Full  of  character.  Note  carefully.  The  hands  alone 
are  worth  much  study.  How  soft  they  are,  and  how  absolutely 
the  hands  of  a  scholar  immersed  in  his  reading  and  writing. 

108.  Clouet.  Elizabeth  of  Austria.  A  fine  example  of  the 
early  French  school,  marking  well  its  hard  manner  and  literal 
accuracy.  It  shows  the  style  in  vogue  in  Paris  before  the 
School  of  Fontainebleau  (Italian  artists  introduced  by  Frangois 
I")  had  brought  in  Renaissance  methods. 

**i62.  Van  Eyck.  Madonna  and  Child,  with  the  Chancellor 
Rollin  in  adoration.  Perhaps  Van  Eyck's  masterpiece.  Notice 
the  comparatively  wooden  Flemish  Madonna  and  Child,  con- 
trasted with  the  indubitable  vitality  and  character  in  the  face  of 
the  Chancellor.     This  picture  is  a  splendid  example  of  the 


88 


PARIS 


[Ul. 


highest  evolution  of  that  type  in  which  a  votary  is  exhibited 
adoring  the  Madonna— the  primitive  form  of  portrait :  "  paint 
me  in  the  corner,  as  giving  the  picture."  Every  detail  of  this 
finished  work  deserves  long  and  close  inspection.  Notice  the 
elaboration  of  the  ornaments,  and  the  delicious  glimpse  of 
landscape  through  the  arcade  in  the  background.  Compare 
with  the  Memlings  ;  also,  with  contemporary  Italian  work  m 
the  Salle  des  Primitifs. 

♦•362.  Raphael.  Madonna  and  Child,  with  infant  St.  John, 
known  as  La  Belle  Jardiniire.  To  the  familiar  group  of  the 
Madonna  and  Child,  Florentine  painters  and  sculptors  early 
added  the  infant  Baptist,  as  patron  of  their  city,  thus  forming  a 
graceful  pyramidal  composition.  This  exquisite  picture,  by  far 
the  most  beautiful  Raphael  in  the  Louvre,  belongs  to  the  great 
painter's  Florentine  period.  It  should  be  compared  with  the 
very  similar  Madonna  del  Cardellino  in  the  Uffiri  at  Florence. 
For  simplicity  of  treatment  and  beauty  of  colouring  this  seems 
to  me  the  loveliest  of  Raphael's  Madonnas,  with  the  exception 
of  the  Granduca.  Look  at  it  long,  for  colour,  design,  and 
tender  feeling.  Then  go  back  to  the  St.  Michael,  and  see  how, 
as  Raphael  gains  in  dramatic  vigour,  he  loses  in  charm. 

407.  Rembrandt.  Christ  and  the  Disciples  at  Emmaus.  A 
fine  study  in  light  and  shade,  and  full  of  art,  but  not  a  sacred 
picture.  Compare  with  other  pictures  of  the  scene  in  this 
gallery.    The  feeling  is  merely  domestic. 

433.  Rubens.    Tomyris,  Queen  of  the  Scythians,  with  the 
head  of  Cyrus.     A  fine,  vigorous  painting,  with  the  action 
frankly  transferred  to  the  court  of  Henri  IV.    Dash  and  colour 
and  all  the  Rubens  attributes. 
365.  Raphael.    Small  Holy  Family. 

364.  Raphael.  Holy  Family,  known  as  the  "Sainte  Famille 
de  Francois  I" "  :  Joseph,  Madonna,  infant  Christ,  St.  Eliza- 
beth and  the  Baptist,  and  adoring  angels.  Belongs  to 
Raphael's  Roman  period,  and  already  vaguely  heralds  the  de- 
cadence. Admirable  in  composition  and  painting,  but  lackmg 
the  simplicity  and  delicacy  of  colour  of  his  earlier  work.  Com- 
pare it  with  the  Belle  Jardiniisre.  It  marks  the  distance 
traversed  in  art  during  his  lifetime.  The  knowledge  is  far 
greater,  the  feeling  less. 


[III. 

is  exhibited 
rait :  "  paint 
detail  of  this 
Notice  the 
I  glimpse  of 
d.  Compare 
ilian  work  in 

ant  St.  John, 
group  of  the 
ulptors  early 
lus  forming  a 
)icture,  by  far 
s  to  the  great 
ired  with  the 
.  at  Florence, 
ng  this  seems 
the  exception 
r,  design,  and 
,  and  see  how, 
iharm. 

Emmaus.  A 
not  a  sacred 
scene  in  this 

lans,  with  the 
th  the  action 
ish  and  colour 


Jainte  Famille 
rist,  St.  Eliza- 
Belongs  to 
[eralds  the  de- 
ig,  but  lacking 
r  work.  Com- 
3  the  distance 
owledge  is  far 


III]      RENAISSANCE  PARIS  {THE   LOUVRE)       89 

**i42.  Van  Dyck.  Charles  I.  A  famous  and  splendid  por- 
trait, with  all  the  courtly  grace  of  this  stately  painter. 

♦♦462.  Lionardo.  Portrait  of  Mona  Lisa.  Most  undoubted 
work  of  the  master  in  existence.  Has  lost  much  of  its  flesh 
tints  by  darkening,  but  is  still  subtly  beautiful.  Compare  with 
any  of  the  portraits  in  the  Salle  des  Primitifs,  in  •■  Jer  to 
understand  the  increase  in  science  which  made  Lionardo  the 
prince  and  leader  of  the  Renaissance.  The  sweet  and  sphinx- 
like smile  is  particularly  characteristic.  Observe  the  exquisite 
modelling  of  the  hands,  and  the  dainty  landscape  background. 
Do  not  hurry  away  from  it. 

363.  Raphael.  Madonna  with  the  infant  St.  John,  known  as 
"  La  Vierge  au  Voile."  A  work  of  his  early  Roman  period, 
intermediate  in  style  between  the  Belle  Jardiniere  and  the 
Francois  I".     Compare  them  carefully. 

Above  it  (379)  Andrea  del  Sarto.  Charity.  A  fine  example 
of  Andrea's  soft  and  tender  colouring. 

^523.  Portrait  of  a  young  man.  Long  attributed  to  Raphael. 
More  probably  Franciabigio.     Pensive  and  dignified. 

452.  Titian.  Alphonso  of  Ferrara  and  his  Mistress.  A  fine 
portrait,  with  its  colour  largely  faded. 

Above  it,  1 54.    Good  portrait  by  Van  Dyck. 

539.  Murillo.  The  Immaculate  Conception.  Luminous 
and  pretty,  in  an  affected  showy  Spanish  manner.  Fore- 
shadows the  modern  religious  art  of  the  people.  An  immense 
favourite  with  the  inartistic  public. 

**i2i.  Gerard  Dou.  The  Dropsical  Woman.  A  triumph 
of  Dutch  painting  of  light  and  shade  and  detail.  Faces  like 
miniatures.  The  lamp  and  curtain  like  nature.  Illuminated 
on  the  darkest  day.    Examine  it  attentively. 

293.  Metsu.  Officer  and  Lady.  Another  masterpiece  of 
Dutch  minuteness,  but  far  less  fine  in  execution. 

526.  Ter  Borch.  Similar  subject  treated  with  coarse  direct- 
ness. 

**55J.  Velasquez,  The  Infanta  Marguerite  —  a  famous 
portrait. 

A  little  above  it  (229),  Sehastiano  del  Piombo.  Visitation. 
Compare  with  the  Ghirlandajo  in  the  Salle  des  Primitifs.  A 
very  favourable  example  of  this  Venetian  master,  painted  in 


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90 


PARIS 


[III. 


rivilrv    with    Raphael.      It    v/ell    exhibits    the    height    often 
aualned.  even  b/n,inor  masters,  at  the  culminatmg  pent  of 

the  Renaissance.  ^  K^r(»««^. 

Above,  occupying  a  large  part  of  the  ^a".  J" 
Christ  and  the  Magdalen,  at  the  ^-^F'^ZZ^^'^^L'^Z 
Another  refectory  picture,  treated    m  V"^""   'X  We 

WWings  the  Venetians  ot  .his  gotseous  age  chose  rathe, 
fte  pSa  ot  some  mighty  Renaissance  Italian  cty.  He,., 
,hea«hitec.u„™ca)U*e^«,|.^S^».m.        ^  ^  ^^^^ 

ceIt«;'^".,1kirTam"rthL  b,  conttas.  with  *e 
century,  '°»"''  ?",  a„s  of  art  beneath  thern.  Return  to  them 
CX;;:!:  h^e  :Smtd  th.  w„U.  ,,  the  French  arUsu 
in  later  rooms  of  this  Gallery. 
Now  proceed  into  the 

LONG  GALLIRY  ,    ,.     u-   u 

which  contains  in  its  Flr.t  Comp.  .tment  works  of  the  High 
R.nls°nce  masters,  transitional  rom  the  conventionality  of 
fhe'^rto  the  freedom  of  the  .6tl.,  and  the  theatrical  tendency 
of  the  ml  centuries.    Beg::,  on  the  t.  and  follow  that  wall  as 

'"/inl^trSTwith  Madonna  and  St.  John,  and  Job 

S>-^ti:^^:-:;^S'^»f- 

jSer,trthe  church  of  San  Giobbe.  patriarch  and  plague- 

"■:S*^«*.^1?rAdoration  of  the  Magi.    Note  coincidences  with 

°^^S  Franda.    Madonna.    A  fair  example. 

S^"".    St.    Jerome    in    the    Desert      I-   .resting    as 
ci,„«ina  a  later  treatment  of  this  familiar  subjei...         ,  ,   .  ., 

^T/«'W'   HOI,  rami,,.      A  8-><l.  VTlt.^hS  1 
ea«l  «o,l.    Compare  «ith  the  frescoes  m  the  Salle  DochStel. 


the    height   often 
minating  point  of 

*Pao!o  Veronese. 
the  house  of  Levi, 
jnese's  large  and 
)rdly  Venetian  life. 

Notice  the  intru- 
lal  with  this  artist. 
J  whole  picture  is 

scenic,  not  sacred. 
;ir  scene  in  smaller 
;  age  chose  rather 
Italian  city.    Here, 

lO. 

works  of  the  I7tl> 
J  contrast  with  the 
;m.  Return  to  them 
I  the  French  artists 


t  works  of  the  High 
e  conventionality  of 
e  theatrical  tendency 
i  follow  that  wall  as 

id  St.  John,  and  Job 
ly  indicating  a  votive 
the  great  Bolognese 
)atriarch  and  plague- 

ote  coincidences  with 

pie. 

iert.      !"  cresting    as 
subjei-v. 

specimen  of  Luini's 
in  the  Salle  DuchAtel. 


RENAISSANCE  PARIS  (THE  LOUVRE)       9^ 


The  hair  is  characteristic,  also  the  ova:  face  and   cast   of 

'"Near  it.  two  works  by  Marco  da  O^^giono,  a  pupil  of  Lionard- 
His  work  and  Luini's  should  be  compared  with  that  of  the 
founder  of  the  school.  The  differences  and  «g««-«"^J^;^^ 
be  observed.    Notice  also  the  surv.vals  t.om  earlier    e^tment 

354.  Sacchi.  The  Four  Doctors  of  the  Church,  attended  by 
the  Symbols  of  the  Four  EvangeUsts.  This  .s  a  composition 
which  frequently  recurs  in  early  art.  ^^  St.  Augustme  holding 
hi.  book  «De  Civitate  Dei,"  with  the  Eagle  of  St.  John  Next, 
St.  Gregory,  inspired  by  the  Holy  Spirit  as  a  dove,  and  accom- 
Lied  b7the  Bull  of  St  Luke.  Then,  St.  Jerome,  jn  h.s 
cTrdinal's  hat.  with  the  Angel  of  St.  Matthew.  Lastly,  St^ 
Ambrose  with  his  scourge  (alluding  to  his  act.on  •« jlosmg  he 
door,  of  the  church  at  Milan  on  the  E-pcrorTheodosms  after 

the  mascacre  of  Thessalonica).  --"""P^^,   ^^^^'^  " X 
Lion  of  St.  Mark.     An  interesting  symbolical  composition, 

deserving  close  study.  .    ,  „. 

232.  Luini.    The  daughter  of  Herodias  with  the  head  of  St 
John  Baptist    A  favourite  subject  with  the  artist,  who  often 
repLed  it    Compare  it  with  his  other  works  in  this  gallery, 
till  you  feel  you  begin  to  understand  Luini.  . 

Above  it,  Borgognone.    Presentation  in  the  Temple     In  the 
paUid  CO louring^culiar  to  this  charming  Lombard  master. 
Serve  the  po!i tbns  of  the  High  Priest  and  other  personages. 
85.  Borgognone.    St.  Peter  Martyr  introducing  or  commend- 
ing  a  Lady  Donor  to  the  Madonna.    One  panel  of  a  triptych 
tie  rest  of  it  is  wanting.    Look  out  for  similar  figures  of  s^nts 
producing  votaries.    St.  Peter  Martyr  has  usually  a  wound  or 
a  knife  in  his  head,  to  indicate  the  mode  of  his  martyrdom. 
Beneath,  a  quaint  little  Lionardesque  Annunciation. 
Solano.    Calvary,  characteristic  of  the  School  of  L.onardo. 
Beneath  it,  394.  ^Solario.    Madonna  with  the  Gje^n  ^ush.^^^^^ 
His  masterpiece,  a  graceful  and  tender  work,  exhibiting  the 
irrowine  taste  of  the  Renaissance. 

'4IS  Attributed  to  Lionardo.  The  young  St  John  Bapt.s^. 
Hair,  smile  and  treatment  characteristic  ;  but  PO^'^ly  a  copy^ 
You  will  meet  with  many  similar  St  Johns  in  Florentine 
sculpture  below  hereafter. 


^ 


92 


PARIS 


465.  School  of  nonar^o.  Holy  Fam.ly.  St.  M >  Jae^  h« 
ArchanKel  oddly  introduced  in  order  to  permit  the  Chdd  Chnst 
fo  play  with  the  scales  in  which  he  weighs  souls-a  cunous 
Real's ance  conception,  wholly  out  of  keeping  w.th  earher 

''TTu!^:  "LaViergeauxRochers...  A  repljcaj 
the  picture  in  the  National  GalK  y  in  London  Much  faded 
but    probably    genuine.      Examine    closely    the    rocks,    the 

^^;rXJ;'GoXttraitofCharlesd.Amboise.amemb^^^^ 
of  ihe  great  French  family  who  will  frequently  crop  up  m  con- 
nection with  the  Renaissance.  n^mardino 
46..  Attributed  to  Uonardo,  more  probably  ^^'^'^^^ 
dd  Conti.  Portrait  of  a  Lady.  Compare  w.th  the  Mona  Lisa, 
as  exhibiting  well  the  real  advance  in  portraiture  made  by 

"-'Z  Aitributed  to  Lionardo,  but  probably  spurious  ;  Bacchus, 
a  fine  youthful  figure,  begun  as  a  St.  John  Baptist,  and  after 
wards  Iltered.     Compare  with  the  other  St.  John  Baptist  near 

"^^Beltraffio.  The  Madonna  of  the  Casio  family.    A  character- 
Utic  Lionf  desque  virgin,  attended  by  St.  John  ^JP-  and  th^^^ 
bleeding  St.  Sebastian.    (A  votive  picture.)    By  her  side  kneei 
Jwo  members  of  the  Casio  family,  one  the  poet  of  that  name 
cTowned  with  laurel.    Intermediate  Renaissance  treatment  of 
the  Madonna  and  donors. 
78  and  79.    Good  Franciscan  saints,  by  Moretto. 
Between  them,  298.     Charming  Girolamo  dai  Ubri 
We  now  come  upon  a  magnificent  series  of  works  by  Titian. 
in  whom  the  Venetian  School,  ill-represented  m  its  ongin  in 
the  Salle  des  Primitifs,  finds  its  culminating  point. 

^:1  Titian.  The  Madonna  with  the  Rabbit.  This  is  one 
of  a  group  of  Titian's  Madonnas  (several  examples  here)  m 
Ikh  he  endeavours  to  transform  Bellini's  type  (see  the  speci- 
men in  the  Salle  des  Primitifs)  into  an  ideal  of  the  .6th  century. 
Th:  VIL  is  here  attended  by  St.  Catherine  of  Alexandna, 
marked  as  a  princess  by  her  coronet  and  pearls.  The  child. 
burS  from' her  arms,  plays  with  the  -bb.t  Once  more 
a  notion  far-removed  from  primitive  piety.    Notice  the  back- 


[in. 

St.  Michael  the 
t  the  Child  Christ 

souls— a  curious 
ping  with  earlier 

•s."    A  replica  of 

on.     Much  faded, 

the    rocks,    the 

mboise,  a  member 
ly  crop  up  in  con- 

ibably  Bernardino 
ith  the  Mona  Lisa, 
rtraiture  made  by 

spurious ;  Bacchus, 

Baptist,  and  after- 

,  John  Baptist  near 

mily.  A  character- 
>hn  Baptist  and  the 
By  her  side  kneel 
poet  of  that  name, 
ssance  treatment  of 

Moretto. 

0  dai  Ubri. 

of  works  by  Titian, 
ited  in  its  origin  in 

1  point. 

Rabbit.  This  is  one 
il  examples  here)  in 
i  type  (see  the  speci- 
il  of  the  1 6th  century, 
herine  of  Alexandria, 
I  pearls.  The  child, 
rabbit.  Once  more 
y.    Notice  the  back- 


in.]      RENAISSANCE  PARIS  (THE  LOUVR.^)       93 

ground  of  Titian's  own  country.  Landscape  is  now  beginning 
to  struggle  for  recognition.  Earlier  art  was  all  figui^s,  first 
sacred,  then  also  mythologies'. 

445.  Titian.  The  Crown  of  Thorns.  A  powerful  but  very 
painful  painting.  The  artist  is  chiei^y  occupied  with  anatomy 
and  the  presentation  of  writhing  emotion.    The  spiritual  is  lost 

in  muscular  action.  ,  •     .u 

**443.  litian.  The  Disciples  at  Emmaus.  Treated  in  the 
contemporary  Venetian  manner.  This  is  again  a  subject  whose 
variations  can  be  well  traced  in  this  gallery. 

451'*  Titian.  Allegory  of  a  husband  who  leaves  for  a  cam- 
paign, commending  his  wife  to  Love  and  Chastity.    Finely 

painted.  _  , 

450  Titian.  Portrait  ol  Francois  I".  Famous  as  having 
been  painted  without  a  sitting-the  artist  had  never  even  seen 
the  king.     He  took  the  face  from  a  medal. 

448.  Titian.    Council  of  Trent.    Very  much  to  order. 

Above  it,  *Titian.  Jupiter  and  Antiope.  Charming  Gior- 
gionesque  treatment  of  the  pastoral  nude.  Compare  with  the 
Giorgione  in  the  Salon  Carrd,  in  order  to  understand  how 
deeply  that  great  painter  influenced  his  contemporaries. 

453.  Titian.    Fine  portrait. 

439.  Titian.  Madonna  with  St.  Stephen,  St.  Ambrose,  and 
St  Maurice  the  soldier.  Observe  the  divergence  from  the 
older  method  of  painting  the  accompanying  saints.  Originally 
grouped  on  either  side  the  Madonna,  they  are  here  transformed 
into  the  natural  group  called  in  Italian,  a  "  santa  conversazi- 
one." Look  at  the  stages  of  this  process  in  the  Salle  des 
Priinitifs  and  this  Long  Gallery. 

442  Titian.  Another  Holy  Family.  Interesting  from  the 
free  mode  of  its  treatment,  in  contrast  with  Bellini  and  earlier 

artists. 

♦*455.  Titian.    Magnificent  portrait. 

Above  these  are  several  excellent  Bassanos,  worthy  of  study. 
Compare  together  all  these  Venetian  xrorks  (Bonifazio  etc.), 
lordly  products  of  a  great  aristocratic  mercantile  community  ; 
and  with  them,  the  Veroneses  of  the  Salon  Carre,  where  the 
type  attains  a  characteristic  development. 


94 


PARTS 


[III. 


Now  return  to  the  door  by  the  SaJon  Carr^  and  examine 

the  R  Wall.  .      „ 

Poor  Pinturicchio,  and  two  inferior  Piriigtnos. 

403.  Lo  Spagm.  Nativity.  Characteristic  example  of  this 
scholar  of  Perugino  and  fellow-pupil  of  Raphael.  Notice  its 
Peruginesque  treatment.  Examine  in  detail  and  compare  with 
the  two  other  painters.    As  a  Nativity,  it  is  full  of  the  conven- 

tional  elements.  ,  .     »f    •«   u« 

189.  Raffaellino  del  Garbo.  Coronation  of  the  Virgin,  be- 
held from  below  by  four  attendant  saints  of,  or  connected  with, 
the  Vallombrosan  order-St.  Benedict  ^r^^f^'-^Z 
Giovanni  Gualberto,  and  San  Bernardo  degli  Uberti.  These 
were  the  patrons  of  Vallombrosa ;  and  the  picture  comes  from 
the  Church  of  St.  Salvi,  at  Florence. 

246.  Manni.  Baptism  in  Jordan.  Observe,  as  usual,  the 
attendant  angels,  though  the  simplicity  of  early  treatment  has 
wholly  disappeared.  The  head-dresres  are  characteristic  of 
the  School  of   Perugino.     Compare  with  Lo  Spagnas  Na- 

*' Abi)ve  it  (496)  Florentine  Madonna,  with  St.  Augustine,  St. 
John  Baptist,  St.  Antony  and  St.  Francis.  Observe  their  sym- 
bols I  do  not  always  now  call  attention  to  these  ;  but  the  more 
you  observe  them,  the  better  you  will  understand  each  picture 

as  you  come  to  it.  . ,     .      a  ^ 

4o  Lvca  Signorelli.  Adoration  of  the  Magi.  A  fine  ex- 
ainple  of  the  mode  of  treatment  of  this  excellent  anatomical 
painter,  the  forerunner  of  Michael  Angelo.    It  needs  long  look- 

'""VS^  Piero  di  Cosimo.  Coronation  of  the  Virgin,  with  St. 
Jerome,  St,  Francis,  St.  Louis  of  Toulouse  and  St  Bonaventura^ 
Compare  with  Raffaelino  del  Garbo.  close  by.  for  ^e  douWe 
scene,  on  earth  and  in  heaven.  Notice  the  crown  which  Lou.s 
refused,  in  order  to  embrace  the  monastic  profession.  This  is  a 
Franciscan  picture  ;  you  will  find  it  casts  much  light  on  assem. 
Wages  of  saints  if  you  know  for  what  order  each  picture  was 
painted.    The  grouping  always  means  somethtng. 

16  Albertinelli.  Madonna  on  a  pedestal,  with  St.  Jerome 
rnd  St.  Zenobius.  Scenes  from  their  legends  in  the  background. 
A  characteristic  example  of  the  Florentine  Renaissance.    The 


[III. 

uni  and  ex&mine 

vos, 

c  example  of  this 
phael.  Notice  its 
and  compare  with 
full  of  the  conven- 

of  the  Virgin,  be- 
ar connected  with, 
Saint  Salvi,  San 
[li  Uberti.  These 
licture  comes  from 

;rve,  as  usual,  the 
arly  treatment  has 
E  characteristic  of 
Lo  Spagna's  Na- 

St.  Augustine,  St. 
Observe  their  sym- 
hese  ;  but  the  more 
rstand  each  picture 

i  Magi.    A  fine  ex- 

xcellent  anatomical 

It  needs  long  look- 

the  Virgin,  with  St. 
,nd  St.  Bonaventura. 
i  by,  for  the  double 
I  crown  which  Louis 
irofession.  This  is  a 
luch  light  on  assem- 
er  each  picture  was 
ething. 

ital,  with  St.  Jerome 
is  in  the  background. 
5  Renaissance.    The 


RENAISSANCE  PARIS  {THE  LOUVRE)      95 

grouping  is  in  the  style  then  fast  becoming  fashionable.    Com- 
pare with  Lorenzo  di  Credi  in  the  Salle  des  Pr.mit.fs. 

IXA  Pontormo.  Visitation.  Showing  the  older  Renaissance 
tendencies.  Compare  with  the  Ghirlandajo.  and  note  persist- 
ence of  the  arch  in  the  background. 

•c7  Fra  Bartolommeo.  Marriage  of  St.  Catherme  of  S.ena. 
This  is  a  variant  on  the  legend  of  the  other  St.  Catherme-of 
Alexandria.  The  infant  Christ  is  placing  a  rmg  on  the  holy 
nun's  finger.  Around  are  attendant  sainls-Peler,  Vmcent, 
Stephen,  etc.  The  composition  is  highly  characteristic  of  the 
painter  and  his  school.  . 

380.  Andrea  del  Sarto.    Holy  Family.    Exquisitely  soft  in 

outline  and  colour.  . 

372.  Doubtful.    Attributed  to  Raphael.     Charming  portrait 

of  a  young  man.  ,  r,    c  1 

Beyond  it,»  two  most  delicate  little  pictures  of  St.  George  (a 
man)  and  St.  Michael  (an  angel,  winged)  of  Raphael  very  early 
period.  Note  the  princess  in  the  St.  George  ;  you  wil  come 
upon  her  again.  Simple  and  charming.  Trace  Raphael  s  pro- 
gress  in  this  gallery,  by  means  of  Kugler.  .  •  u  „  , 

Beyond  them,  again,  two  portraits  by  Raphael,  of  which  3/3 
is  of  doubtful  authenticity. 

*366  Raphael.    The  Young  St.  John  :  a  noble  figure. 

**367  Raphael.  St.  Margaret :  issuing  triumphant  from  the 
draeon  which  has  swallowed  her.  A  figure  full  of  feeling  and 
movement,  and  instinct  with  his  later  science.  It  was  painted 
for  Francois  I",  out  of  compliment  to  his  sister.  Queen  Margaret 

°  Airthese  Raphaels  should  be  carefully  studied.  The  great 
painter  began  with  a  certain  Peruginesque  stiffness,  through 
which  nevertheless  his  own  native  grace  makes  itself  felt  at 
once  •  he  progressed  rapidly  in  knowledge  and  skill  at  Florence 
and  Rome,  but  showed  a  tendency  in  his  last  works  towards  the 
incipient  faults  of  the  later  Renaissance.  By  following  him 
here,  in  conjunction  with  Florence  and  Rome,  you  can  gain  an 
idea'of  the  course  of  his  development. 

The  Second  Compartment  of  the  Long  Gallery,  which  we 
now  enter,  though  containing  several  works  by  Titian  and  other 
masters  of  the  best  period,  is  mainly  devoted  to  painters  of  the 


H 


96 


PARiS 


later  i6th  and  17th  century,  when  the  decline  in  taste  was  rapid 
and  progrtssive.  Notice  throughout  the  substitution  of  rhe- 
torical gesture  and  affected  composition  for  the  simplicity  of  the 
early  masters,  or  the  dignity  and  truth  of  the  High  Renaissance. 
Begin  again  on  the  L  wall,  containing  finer  pictures  than  that 

opposite. 

441.  Ti/iaH.     Another    Holy   Family,   with    St.    Cathenne 
Both  women  here  are  Venetian  ladies  of  high  rank  and  of  his 
own     period.      Observe,    however,    the    persistence   of    the 
Madonna's  white  head-covering.     Also,  the  playfulness  intro- 
duced in  the  treatment  of  St.  Catherine's  palm  of  martyrdom, 
and  the  childish  St.  John  with  his  lamb.     These  attributes 
would  have  been  treated  by  earlier  painters  with  reverence  and 
solemnity.    Titian  transfers  them  into  mere  pretty  accessories. 
Characteristic  landscape  background.     (The  female  saint  in 
this  work  is  usually  described  as  St.  Agnes,  because  of  the 
lamb  :  I  think  erroneously.    The  lamb  is  St.  John's,  and  the 
St.  Catherine  merely  plays  with  it.) 
88.  Calcar.    Fine  portrait  of  a  young  man. 
38.    Attributed  (very  doubtfully)  to  Giorgione.    Holy  Family, 
with  St.  Sebastian,  St.  Catherine,  and  the  donor,  kneeling.    A 
good  example  of  the  intermediate  treatment  of  saints  in  groups 
of  this  character. 

h\>o\t'\i{<)2)  Paolo  Veronese.  Esther  and  Ahasuerus.  Treated 
in  the  lordly  fashion  of  a  Venetian  pageant.  Try  now  to  under- 
stand this  Venetian  ideal  in  style  and  colour. 

91.  Paolo  Veronese.  Similar  treatment  of  Susanni^  and  the 
Elders,  a  traditional  religious  theme,  here  distorted  into  a  mere 
excuse  for  the  nude,  in  which  the  Renaissance  delighted. 

**274.  Palma  Vecchio.  Adorat  on  of  the  Shepherds.  A 
noble  example  of  this  great  Venet.an  painter.  Observe  how  he 
transforms  the  traditional  accessories  in  the  background,  and 
employs  them  in  the  thorough  Venetian  spirit. 

Beyond  it,  several  small  Venetian  pictures.  Self-explanatory, 
but  worthy  of  close  attention  ;  especially  94.  a  delicate  Paolo 
Veronese,  on  a  most  unusual  scale— a  Venetian  Dominican 
nun  presented  by  her  patroness,  St.  Cathciine,  and  St.  Joseph 
to  the  Madonna.  Also,  93,  by  the  same  artist,  St.  George  and 
St.  Catherine  presenting  a  Venetian  gentleman  to  the  Madonna 


in  taste  was  rapid 
iib&titution  of  rhe- 
le  simplicity  of  the 
High  Renaissance, 
pictures  than  that 

th  St.  Catherine 
;h  rank  and  of  his 
ersistence  of  the 
:  playfulness  intro- 
ilm  of  martyrdom, 
These  attributes 
with  reverence  and 
pretty  accessories. 
lie  female  saint  in 
les,  because  of  the 
St.  John's,  and  the 


ione.  Holy  Family, 
ionor,  kneeling.  A 
of  saints  in  groups 

Vhasuerus.  Treated 
Try  now  to  under- 
r. 

if  Susann?.  and  the 
istorted  into  a  mere 
ice  delighted, 
he  Shepherds.  A 
r.  Observe  how  he 
he  background,  and 
rit. 

5.  Self-explanatory, 
94,  a  delicate  Paolo 
/^enetian  Dominican 
line,  and  St.  Joseph 
rtist,  St.  George  and 
nan  to  the  Madonna 


RENAISSANCE  PARIS   (THE   LOUVRE)       97 


and  Child.  These  two  saints  were  the  male  and  female  patrons 
of  the  Venetian  territory ;  hence  their  frequency  in  Venetian 
pictures. 

99.    The   Disciples    at    Emmaus.      Another    characteristic 
transformation  by  Veronese  of  a  traditional  scene.    The  pre- 
tence of  sacredness  is  very  thin. 
98.  P<wlo  Veronese.    Calvary.    Similarly  treated. 
*335-  Tintoretto.     Susanna  at  the    IJath.      Admirable  ex- 
ample  of  this  artist's  bold  and  effective  method.     In  him  the 
Venetian  School  attains  its  last  possible  point  before  the  deca- 
dence. 
Beneath  it,  two  good  Venetian  portraits. 
336.  Tintoretto.    A  characteristic  Paradise  (sketch  for  the 
great  picture  in  the  Doge's  Palace  at  Venice),  whose  various 
circles   of  saints   and   angels   should  be   carefully   studied. 
Cloomy  glory. 

Above  it,  17.  A  Venetian  gentleman  introduced  to  the  Ma- 
donna by  St.  Francis  and  a  sainted  bishop,  with  St.  Sebastian 
in  the  background.  Doubtless,  a  votive  picture  in  gratitude  for 
the  noble  donor's  escape  from  the  plague. 

Beyond  these,  we  come  chiefly  upon  Venetian  pictures  of  the 
Decadence,  among  which  the  most  noticeable  are  the  Venetian 
views  by  Canaletto  and  Guardi,  showing  familiar  aspects  of  the 
Salute,  the  Doge's  Palace,  San  Zaccaria,  and  other  buildings. 

Further  on,  this  compartment  contains  Spanish  pIctureA, 
—  an  artificial  arrangement  not  without  some  real  justification, 
since  in  the  i6th  and  17th  centuries,  Spain,  enriched  by  her 
American  possessions,  became,  for  a  short  period,  the  material 
and  zjtistic  inheritor  of  Italy,  and  accepted  in  full  the  mature 
fruits  of  the  Italian  Renaissance.    At  the  same  time,  she  im- 
bued the  developed  arts  she  received  from  Italy  with  Spanish 
showiness  and  love  of  mere  display,  to  the  exclusion  of  deeper 
spiritual  feeling.    The  mo»»  famous  among  the  few  Spanish 
pictures  of  the  Louvre  are :— - 
552.  **Velasques.    Philip  IV  of  Spain. 
Beneath  it,  *Murillo.    One  of  his  favourite  Boy  Beggars, 
killing  tleas.    A  curious  subject,  excellently  rendered. 
548.  Ribera.    Adoration  of  the  Shepherds. 
540.  Murillo.    Birth  of  the  Virgin,  where  the  transformation 

O 


w 


98  ^'"'■''' 

of  the  traditional  element  is  even  "-'^^^"^^''^'^^X 
Italian   Henai.anc.    The  co^-«^^^^^^^^^^^^^^    ^^^^Z 

Spain  miraculously  fed  by  angels,  known  as      La  Cu.sme 

^T  do  not  recommend  more  than  a  cursory  examination  ol 
.de  jVplnish  worUs..hich  can  onlybe  P-Pe^ly -de  ; 
stood  by  those  who  have  vis.ted  Madnd  and  Sev.ne^    U 
suffice  to  note  their  general  ^h^f  "^^^'J,  ';j^„    "Z^ 
r'r"^rrJ::::"tSneItr;.^seat  neany 

':;^:Z^  a^rchwa,  when  the  splen^^^^^^^^^^^^^^^ 
qualities  of  this  theatrical  picture  can  be  better  apP«c.ate 

o(  the  traditional  motives.  Anlonv  and  St. 

5,  So«<rd.    Madonna  in  Glory,  «ilh  S  .  AMony  ana 
Lu.^.    A  good  example  ot  the  insipid  style  «h,ch  took  ,ts 

pi,rho;i^/t.e^.|;-|;-;--^^^^^ 

r^leTel^SoftlirsI-r^o,    i.^^^^^^^^^^^ 
Whose  fine  but  complex  arrangements  rapidly  resultea  m 
confused  grouping. 


\ 


larked  than  in  the 
idid.  St.  Anne  is 
ould  notice  in  tho 
:ome  mere  excuses 

1  poor  monastery  in 
IS  "  La  Cuisine  des 

sory  examination  ol 
r  be  properly  under- 
and  Seville.    It  will 
ics,  and  the  way  in 
le  best  point  of  view 
from  the  seat  nearly 
e  splendid  luminous 
e  better  appreciated. 
Spanish  pictures  are 
lot  intended  for  close 

jmpartments  have  an 

0  a  classical  temple  in 
ice  by  Louis  XIV  to 
les-Pr^s.    Finally,  the 

re.) 

,  and  begin  once  more 
ostpart  tawdry  works 
lowever,  be  studied  to 
nee  of  art  in  the  later 
further  transformation 

th  St.  Antony  and  St. 

1  style  which  took   its 

umcision,  with  twisted 
ral  taste.  The  crowded 
ipared  with  earlier  and 
with  Fra  Bartolommeo, 
rapidly  resulted  in  such 


RESAISSANCE  PARIS  {THE   LOUVRE)    00 


52.  Barocci.  Same  scene.  The  tradition  now  entirely 
ignored,  and  an  unpleasantly  realistic,  yet  theatrical  and 
mannered  treatment,  introduced. 

304.  After  Primaticcio.  Mythological  concert,  exhibiting 
the  taste  of  the  School  of  Pontainebleau  (the  Italian  artists 
of  Raphael's  group,  scholars  of  Giulio  Romano,  introduced  into 
France  by  Francois  I""')- 

349.  RossclH.  Triumphant  David,  with  the  head  of  Goliath. 
Marking  the  advance  of  the  histrionic  tendency. 

A  very  cursory  examination  of  the  rest  of  the  works  on  this 
wall  will  probably  be  sufficient.  Look  them  over  in  an  hour. 
The  most  celebrated  are  two  by  Salvator  Rosa  :  3'8,  Guido 
Rent's  Ecce  Homo,  full  of  tawdry  false  sentiment ;  and  Dome- 
nichino's  St.  Cecilia  (often  copied),  with  the  angel  reduced  to 
the  futile  decorative  winged  boy  of  the  periocL  324,  Guido's 
St.  Sebastian,  may  be  well  compared  with  Perugino's,  as  mark- 
ing the  decline  which  art  had  suffered.  It  is  on  works  like 
these  that  the  Spanish  School  largely  based  itself. 

This  completes  the  Italian  collection  of  the  Louvre,  to 
which  the  visitor  should  return  again  and  again,  until  he  feels 
he  has  entered  somewhat  into  the  spirit  and  tone  of  its  various 
ages. 

Between  the  next  two  archways,  we  come  to  a  small  collec- 
tion of  works  of  the  Early  French  School,  too  few  of  which 
unfortunately  remain  to  us. 

Left  Wall.  Two  portraits  of  Franqois  I"',  may  be  well  com- 
pared with  the  Titian  of  the  same  king,  as  indicating  the  gulf 
which  still  separated  France  from  the  art-world  of  Italy.  The 
hard,  dry,  wooden  manner  of  these  French  works  is  strongly 
contrasted  with  the  finished  art  of  the  Italian  Renaissance. 
Recollect  that  these  seemingly  archaic  portraits  are  painted  by 
contemporaries  of  Raphael  and  Titian. 

Between  them,  good  miniatures,  by  Nicolas  Froment,  of 
King  Ren^  and  his  Queen. 

Above,  650.  Admirable  Dead  Christ,  wiih  the  Madonna, 
Magdalen,  Joseph  01  Arimathea,  etc.  In  the  best  style  of 
the  French  School  of  the  15th  century.  Observe  the  action  of 
the  various  personages  ;  all  are  conventional.     I .  •*- 


100 


PAKIS 


[ill. 


\  \ 


neyond  it.  scverul  good  .mall  picture*  of  »»«  "''y^«;^^ 
RcnuLance  which  should  be  carefully  exan.ned^      ouquet 
portrait  of  Charles   Vll   is  a  cap.tal  example  of  the  older 

"Iwe  them.  875.  characteristic  .5th  --V^^-fth"; 
with  Last  Communion  and  Martyrdom  of  ^\»«"'»-  2^^7 
r  cutioncr>sface  is  French  all  over  (Scenes  '--  '^'J^- 
!ion  have  often  in  French  art  such  s.de-scenes  f'"-"  >'7;j] 
Hnts  Several  at  Cluny.)  This  picture  has  been  employed 
"a basis  for  the  restoration  of  the  reliefs  in  the  portals  at  St. 

"iSond  a«ain.  portraits  of  the  early  Renaissance,  exhibiting 
" J^  R  :^  !:::iS-ore  distinctly  character;^ 
of  ?hV::Hooro.  .K  which  ,rew  up  ro^;^-^^;^^ 
scholars  at  FonUlneble.u.    Among    hem  "e  a  Diana  hum 

7Z\ri  the  raw  material  upon  which  subsequent  French  art 
was  developed. 

Beyond  the  next  archway,  we  ^7\'«  »^* /' ^mTon  VIS 
CI.  Juh  School    which  deserve  almost  equal  attention  w.tn 

numbered,  good  specimens  of  the  frank,  un.ae 

"ts.    An  exqui^e  e.;y  Annu^^^ 

shouldbe  compared  ^'''^^^^"^^/X^   divergence  inspirit, 

similarity  "^  «<^«f  "^^^'^j'^j^lt^^^^^  efTecfs  of  light  and 
the  dwelling  on  detail,  the  Flemish  love  i 

shade  on  brass-work,  f^''^'"'  ^'^tC  in  th  "volution  of 
charming  picture  gives  us  the  ""'V  ^'^f  ^"^^^^^  Dou  in  the 
that  type  of  art  which  culminates  m  the  Oerara  t^o 

Salon  Carr^. 


*4' 


[III. 

the  early  French 
iiined.  Fouquefs 
I  pie  of  Ihe  older 

ntury  Crucifixion, 
St,  Denis.  The 
les  from  the  Pas- 
incs  from  lives  of 
IS  been  employed 
the  portals  at  St. 

lissance,  exhibiting 

nctly  characteristic 
'rimaticcio  and  his 
are  a  Diana  hunt- 
e  of  Scipio.  They 
eath  the  first,  two 
id  Peter).  All  the 
imined  carefully,  as 
sequent  French  art 


the  pictures  of  the 
iqual  attention  with 
I,  as  of  less  interest 
more  briefly.    Begin 

r. 

Adam  and  Eve,  un- 

unidealised  northern 

the  spirit  of  which 
.  Notice  the  general 
e  divergence  in  spirit, 
)r  effects  of  light  and 
tc.  Notice  that  this 
;e  in  the  evolution  of 
s  Gerard  Dou  in  the 


mj      KESAISSANCE   PARIS  {THE   LOUVRE)      lOl 

Deside  it,  an  exquisitely  tender  Dead  Christ.  Remarkable 
for  the  finish  in  the  background. 

The  QutHtin  Matsys  is  not  a  worthy  representative  of  the 
master. 

Beside  it,  a  quaint  and  striking  group  of  Votaries,  listening  to 
a  sermon.  Probably  a  mere  excuse  for  portrait-painting.  The 
character  in  the  faces  is  essentially  Flemish. 

Fine  portrait  of  a  young  man  with  a  pink,  in  a  red  cap. 

Triptych,  with  the  Madonna  and  Child  (who  may  be  well 
compared  with  those  of  the  Memling  in  the  Salle  Uuchiltcl). 
On  the  flaps,  the  donor  and  his  wife,  introduced  by  their 
patrons,  St.  John  and  St.  Christopher. 

Now  cross  ov<5r  to  the  L  sWe. 

♦698.  Rogier  y,m  der  Wtyden.  Excellent  Deposition,  with  a 
touching  St.  John,  and  a  very  emaciated  Dead  Christ.  These 
scenes  of  death  p.re  extremely  common  in  Flemish  and  German 
art,  and  resulted  in  a  great  effort  to  express  poignant  emotion, 
as  contrasted  with  tht  calmer  ecstatic  character  of   Italian 

art. 

**279-  QutntiH  Matsys.  Banker  and  his  v  "fe.  An  admir- 
able and  celebrated  picture,  with  marvellous  detail,  of  which 
there  are  variants  elsewhere.  Notice  the  crystal  vase,  mirror, 
leaves  of  book,  and  objects  on  shelves  in  background.  The  fur 
is  exquisitely  painted. 

*288  and  289.    Two  beautiful  little  Memlings. 

588.    Most  characteristic  and  finifiheJ  Holy  Family. 

699.  Memling.  St.  Sebastian,  Resurrection,  Ascension. 
Compare  the  first  with  Italian  examples.  Notice  the  extra- 
ordinarily minute  work  in  the  armour  and  accessories,  contrasted 
with  the  blank  and  meaningless  face  of  the  Risen  Saviour. 
Flemish  art,  perfect  in  execution,  seldom  attains  high  ideals. 

277  and  278.  Mabuse.    Virgin  and  donor.    Excellent. 

**596.  Gerard  David.  Marriage  at  Cana.  A  splendid 
specimen  of  this  great  and  insufficiently  recognised  painter. 
Background  of  buildings  at  Bruges.  Every  face  and  every 
portion  of  the  decorative  work,  including  the  jars  in  the  fore- 
ground, should  be  closely  noticed.  The  kneeling  donor  is  an 
admirable  portrait.  As  a  whole,  what  a  contrast  to  the  Paolo 
Veronese  I    The  pretty,  innocent  face  of  the  bride,  with  her  air 


_jj' 


102 


PARIS 


[ni. 


or.utewonder.is  excellently  renderedjb^^^^^^ 

this  work  is  a  younger  P°>^^f '  °^;^;„,^Sery 
glorious  Gerard  Javid  m  the  National  ^J^^^'  ^^^,^^ 

Skied  above  all  these  pictures  °l^']^^'J^l,^,,,^  mostly 

works  by  Van  ^^-.  >«  ^^^/if  ^^i^  goo^ 

worthy  of  notice.    Among  them,  136.  I^""  ^J"    '  « 

with  the  Magdalen  and  other  ^amts.  ^^^^^^. 

We  now  come^to  ^'^^J^^,,'^,",,'^  inflated  allegorical 
the  History  of  Marie  de  «*»'«"'  "1^  .  spectator  should 
style  of  the  period.    To  undersUnd  tje-.  th^P-^^^  ^.^^^^, 

first  read  an  account  of  ^^^"^  ^'^^ '"  ^^"J  nainted  hurriedly,  with 
These  great  decorative  -"--,"=^  "^ J^ teedom  to  Sarie's 
even  more  than  Rubens's  "-^   ^^^^Jj^^l;;^^^^ 
order,  after  her  '•e^"'-"/^%^''f '  f  ^Jch  ^^^^^^^    just  erected, 
at  the  Luxembourg  (-^^^"^^  ^^  "^^te  iLge^^^  by 

Thoujh  designed  by  Ruben  ,  ^^^^^  ^^"^^  'JiVn.aster's  exu- 
the  hands  of  pupils  ;  and  wh.le  ?--"-«  f^f^^,  f,,o„,able 
berant  artistic  quamies-nc^^^^^^^^^^^^^  aTd  technique.     It 

specimens  of  his  art,  as  "8^'^''^  ^  ^  Frenchmen  form 

istoberegrettedthatmost  Englishmen  and  t  re 

their  impressions  of  the  Pa-t"  from  these  v  gorous  P 

pictures,  rather  than  ^^^^X^^^^^^^  -"^^• 
^^flCT^iest^irM^^^^^^^  A  small  panel  for 

the  side  of  a  door.  t  „rina   coddess  of  birth, 

2.    Birth  of  Marie  at  Florence.    Lm:nagoa  ^^^^^^ 

with  hertorch.  attends  the  mother.  Ge^^^^^^^^^^^  '^^^  ^^ 

hold  her  future  crown.     In  ^^^^^°^^f  "^^^^ 
the  Arno.  with  his  stream  '-75/;°™  ^"  7j,ding  the  Floren- 
by  the  Florentine  lion,  as  well  as  by  ^^^^  f  °'%f^3„„     es  and 
tine  lily.    This  curious  mixture  of  allegorical  personag 
realities  is  continued  throughout  '^^'^'^  ^.^^  ^^e  aid  of 

teacher  of  the  arts     C^ose  by  are  t  .^^^ 

figures.    Among  the  accessories,  dusi 


[ni. 

believe  the  donor  in 
,  who  appears  in  the 

ery. 

er  side  are  several 

;  and  others,  mostly         I 

5/t/t,  good  Madonna 

y  Rubens  narrating 
e  inflated  allegorical 
the  spectator  should 
[ood  French  history, 
linted  hurriedly,  with 
1  freedom,  to  Marie's 
jcoration  of  her  rooms 
she  had  just  erected. 
;  largely  executed  by 
;  all  the  master's  exu- 
icy  are  not  favourable 
on  and  technique.     It 
and  Frenchmen  form 
:se  vigorous  but  rapid 
er  works  at  Antwerp, 
meaning  of  the  series, 
iny.   A  small  panel  for 

cina,  goddess  of  birth, 
i  scatter  flowers  ;  others 
)und,  the  River  God  of 
^n  urn,  and  accompanied 
,ys  holding  the  Floren- 
igorical  personages  and 

ries. 
Minerva,  with  the  aid  of 

earning),  and  Apollo,  as 
Graces,  admirable  nude 
it  of  Socrates,  painting 

idance  upon  Henri  IV, 
lit.    The  attitude  of  the 


III.]      RENAISSANCE  PARIS  {THE  LOUVRE)     I03 

king  expresses  delight  and  astonishment.  In  the  clouds, 
Jupiter  and  Juno  smile  compliance.  Below,  little  Loves  steal 
the  king's  shield  and  helmet. 

5.  Marriage  of  Marie  by  proxy.  The  Grand  Duke  Fer- 
dinand  represents  the  king.    Hymen  holds  the  torch. 

6.  Marie  lands  at  Marseilles,  and  is  received  by  France, 
while  Tritons  and  Nereids  give  easy  passage  to  her  vessel. 
Above,  her  Fame.    On  the  vessel,  the  balls  or  palli  of  the 

Medici  family.  . 

7.  Consummation  of  the  Marriage  at  Lyons.    The  town  itself 

is  seen  in  the  background.  In  the  foreground,  the  (personified) 
city,  crowned  with  a  mural  coronet,  and  designated  by  her  lions. 
Above,  the  King,  as  Jupiter,  with  his  eagle,  and  the  Queen,  as 
Juno,  with  her  peacocks. 

8.  Birth  of  her  son,  afterwards  Louis  XIII,  at  Fontaine- 
bleau.    Health  receives  the  infant.    Fortune  attends  the  Queen. 

9  The  King,  setting  out  to  his  war  against  Germany,  makes 
Marie  Regent-alh-orically  represented  by  passing  her  the  ball 
of  empire— and  confides  to  her  their  son. 

Larger  pictures  :  No.  10,  the  Coronation  of  the  Queen,  and 
No.  n,  the  Apotheosis  of  Henri,  the  painful  scene  of  his  death 
being  avoided.  He  is  represented  as  raised  to  the  sky  by 
Jupiter  on  one  side,  and  Death  with  his  sickle  on  the  other. 
Beneath,  the  assassin,  as  a  serpent,  wounded  with  an  arrow. 
Victory  and  Bellona  mourning.  Beyond,  the  allegorical  figure 
of  France  presenting  the  regency  to  Marie,  with  the  acclama- 
tion  of  the  nobility  and  people. 

12  The  Queen's  government  approved  of  by  Jupiter,  Juno, 
and  the  heavenly  powers.  In  the  foreground  Apollo,  Mars, 
and  Minerva  (the  first  copied  from  the  antique  statue  known  as 
the  Belvedere),  representing  courage,  art,  and  literature,  dispel 
calumny  and  the  powers  of  darkness. 

Continue  on  the  opposite  side,  crossing  over  directly. 

13.  Civil  discord  arises.  Marie  starts  for  Anjou,  attended 
by  Victory.    Military  preparations  in  the  background. 

14.  The  exchange  of  Princesses  between  allegorical  figures 
of  France  and  Austria-each  intended  to  marry  the  heir  of  the 

other  empire. 

15.  The  Happiness  of  the  Regency.    The  Queen  bears  fhe 


1' 


(  / 


j^^ 


I04 


PARTS 


[ni. 


scales  of  justice.    Plenty  prevails.    Literature,  ac.ence,  art,  and 
beauty  predominate  over  evil,  slander,  and  baseness. 

i6  Louis  XIII  attains  his  Majority  (at  14)  and  mans  the 
shipof  State  in  person,  still  attended  by  the  counsels  of  h.s 

mother.    The  Virtues  row  it,  „     ,.      j  •      „«•  i,„r 

,7  Calumny  overcomes  the  Queen.  By  the  advice  of  her 
counsellors,  she  takes  refuge  at  Blois,  escorted  by  W.sdom. 

1 8  Mercury,  as  messenger,  brings  an  olive  branch  to  Mane, 
as  a  token  of  reconciliation  from  her  son,  through  the  interme- 
diation of  Richelieu  and  the  Church  party. 

,9  Marie  enters  the  Temple  of  Peace,  escorted  by  Mercury 
and  Truth  with  her  torch,  while  blind  Rage  and  the  evil  powers 
stand  baffled  behind  her.  . 

20.  Apotheosis  of  Marie  and  Louis :  their  reconciliation  and 
happiness.     Final  overthrow  of  the  demons  of  discord. 

ai.    Time  brings  Truth  to  light.    Louis  recognises  the  good 

influence  of  his  mother. 

The  history,  as  given  in  these  pictures,  is  of  course  envisaged 
from  the  point  of  view  of  a  courtier,  who  desires  to  flatter  and 
please  his  patroness. 

Beneath  this  great  series  of  Rubens  are  a  number  of  Dutch 
and  Flemish  Pictures,  mostly  admirable  and  well  worthy  ot 
attention,  but,  so  to  speak,  self-explanatory.    They  belong  en- 
SeTy  to  modern  feelin,.    Dutch  and  Flemish  art,  in  its  later 
form,  is  the  domestic  development  of  that  intense  love  of  minute 
detail   and    accessories  already  conspicuous    in  Van  Eyck, 
Memling,  and  Gerard  David.     Sacred  subjects  almost  dis- 
appear ;  the  wealthy  burghers  ask  for  portraits  of  themselves 
their  wives  and  families,  or  landscapes  for  their  households     I 
would  call  special  notice  to  the  following  among  many  which 
should  be  closely  examined  to  show  the  progress  of  artj- 
5,2,  Teniers;  691,  Rubens;   518,  Ten,''"'.  238  and  239,  f^«« 
N^ysum  ;  ^ZS,  a  charming  Rudens,  in  his  smaller  and  more 
delicate  style  ;  .47.  admirable  portrait  by  Van  Dyck  ;  5.3.  a« 
excellent  T'.^/.r.  ;  •46..  a  good  portrait  by  ^f'''";)]%^ 
quisite,  luminous  Gerard  Don  ;  next  it  •*Van  der  HeUts  Four 
ludges  of  the  Guild  of  Cross-bow-men  deciding  on  the  prues, 
one  of  the  most  perfect  specimens  of  this  great  portrait  painter. 


[in. 

;,  acience,  art,  and 

seness. 

14)  and  mans  the 

le  counsels  of  his 

the  advice  of  her 
d  by  Wisdom. 
e  branch  to  Marie, 
ough  the  interme- 

corted  by  Mercury 
md  the  evil  powers 

•  reconciliation  and 
of  discord, 
ecognises  the  good 

of  course  envisaged 
sires  to  flatter  and 


a  number  of  Dutch 
and  well  worthy  ot 
.    They  belong  en- 
oish  art,  in  its  later 
tense  love  of  minute 
ous   in  Van  Eyck, 
ubjects  almost  dis- 
traits  of  themselves, 
their  households.     I 
among  many  which 
progress  of  art : — 
;  238  and  239,  Van 
IS  smaller  and  more 
Van  Dyck  \  5i3f  an 
by  Rubens  ;  125,  ex- 
Van  der  Helsfs  Four 
ciding  on  the  prizes, 
jreat  portrait  painter. 


,11.]      RENAISSANCE  PARIS  {THE  LOUVRE)     I05 

Notice  the  wonderful  life-like  expressions.  Then  123,  another 
exquisite  luminous  Dou\  542,  Van  de  Velde;  41,  splendid 
portrait  by  Bol ;  130,  Gerard  Dou  by  himself;  ••404,  Rt"*- 
brandt,  Raphael  leaving  the  house  of  Tobias,  a  master-piece  of 
the  artist's  weird  and  murky  luminosity-strangely  contrasted 
with  Italian  examples  ;  205,  a  good  Hobbenta  ;  133,  fine  portrait 
by  Duch&tel ;  369,  excellent  family  group  by  Van  Ostade  ;  next 
it,  126,  a  delicious  little  Dou.  But,  indeed,  every  one  of  these 
Dutch  paintings  should  be  examined  separately,  in  order  to 
understand  the  characteristic  Dutch  virtues  of  delicate  handling, 
exquisite  detail,  and  domestic  portraiture.  They  are  the  artis- 
tic  outcome  of  a  nation  of  housewives. 

On  the  opposite  side  the  series  is  continued  with  admirable 
flower-pieces,  landscapes  by  Van  der  Veldt  and  Karel  du 
Jardin,  and  several  noteworthy  portraits,  among  which  notice 
the  famous  *Van  Dyck  (143)  of  the  children  of  Charles  I.,  most 
daintily  treated.    Beyond  the  Rubenses,  again,  on  this  side, 
144,  two  noble  portraits  by  Van  Dyck,  and  several  excellent 
examples  of  Philippe  de  Champaigne,  a  Flemish  artist  who 
deeply  influenced  painting  in  France,  where  he  settled.    **i5i. 
Van  DycKi  Duke  of  Richmond,  perhaps  his  most  splendid 
achievement  in  portraiture,  deserves  careful  study.     I  do  not 
further  enlarge  upon  these  subjects  because  the  names  and 
dates  of  the  painters,  with  the  descriptions  given  on  the  frames, 
will  sufficiently  enable  the  judicious  spectator  to  form  his  own 
conceptions.     Devote  at  least  a  day  to  Dutch  and  Flemish  art 
here,  and  then  go  back  to  the  Salon  Carr^,  to  see  how  the 
Rembrandts,  Dous,  and  Metsus,  there  unfortunately  separ  itcd 
from  their  compeers,  fall  into  the  general  scheme  of  Dutch 

development. 

Good  view  out  of  either  window  as  you  pass  the  next  arch- 
way. Look  out  for  these  views  in  all  parts  of  the  Louvre.  They 
often  give  you  glimpse  i  of  the  minor  courtyards,  to  which  the 
general  public  are  not  admitted. 

The  next  two  compartments  contain  further  Dutch  and 
Flemish  pictures  of  high  merit-portraits,  still-life,  landscape, 
and  other  subjects.  The  scenes  of  village  life  are  highly 
characteristic.  Notice  in  this  connection  the  growing  taste 
for  landscape,  at  first  with  a  pretence  of  figures  and  animals, 


li: 


1^^ 


io6 


PARIS 


[HI. 


but  gradually  asserting  its  right  to  be  heard  on  its  own  account. 
In  Italy,  under  somewhat  similar  commercial  conditions,  we 
saw  this  taste  arise  in  the  Venetian  School,  with  Cima,  Gior- 
gione,  and  Titian  ;  in  Holland,  after  the  Reformation  put  sacred 
art  al  a  discount,  it  became  almost  supreme.  And  note  at  the 
same  time  how  the  Reformation  in  commercial  countries  has 
wholly  altered  the  type  of  northern  art,  focussing  it  on  trivial 
domestic  incidents. 

Among  the  many  beautiful  pictures  in  these  compartments 
the  spectator  should  at  least  not  miss,  on  the  l,  the  very 
charming  **    Portrait  by  Rubens   (not  quite  finished)  oi    his 
second  wife  and  two  children,  scarcely  inferior  to  the  lovely 
specimen     at    Munich.      Near  it,  an  admirable    Crucifixion 
with  the  Madonna,  St.  John,  and   Magdalen,   more    remini- 
scent than  is  usual  with  Rubens  of  earlier  compositions.    On 
the  R  side,  notice  a  portrait  of  Elizabeth  of  France  (459).  J>y 
Rubetts,  in  his  other,  stiffer,  and  more  courtly  manner.    We 
may  well  put  down  this  peculiarity  to  the  wishes  of  the  sitter. 
His  *Kermesse,  near  it,  is    an  essay  in  the  style  afterwards 
popularized  by  Teniers,  in  which  the  great  artist  permits  his 
Flemish  blood  to  overcome  him,  and  produces  a  clever  but  most 
unpleasant  picture.    The  numerous  admirable  fruit  and  flower 
pieces  works  in  still  life,  etc.,  which  these  compartments  contain, 
must  be  studied  for  himself  by  the  attentive  visitor.    In  Rubens' 
great  canvas  of  the  Triumph  of  Religion,  painted  for  a  Spanish 
commission,  observe  his  curious  external  imitation  of  Spanish 

tendencies.  ,  .     t         ^  n.. 

After  having  completed  his  examination  of  the  Long  Gallery, 
the  visitor  may  next  proceed  to  the  five  small  rooms-ix,  x,  xi, 
XII,  and  XIII  on  Baedeker's  map-devoted  to 

THE  German,  English  and  Early  French  Schools. 

Among  the  early  Qerman  work*  in  the  2nd  of  these  rooms, 
the  visitor  may  particularly  notice  (*22),  Hans  HolbeMs  portrait 
of  Southwell,  full  of  character.  Above  it,  a  quaint  Venus  by 
Cranach,  instinc.  -ith  the  northern  conception  of  the  crude  nude. 
Next  two  good  portraits  by  Holbein.  In  the  centre  of  this  wall, 
*  a  Descent  from  the  Cross,  of  the  School  of  Cologne,  which 
should  be  compared  with  similar  pictures  of  the  Italian  and 


mm 


tin. 

.  its  own  account. 
U  conditions,  we 
with  Cima,  Gior- 
nation  put  sacred 
And  note  at  the 
;ial  countries  has 
ssing  it  on  trivi.il 

;se  compartments 
the  L,  the  very 
!  finished)  oi   his 
rior  to  the  lovely 
rable    Crucifixion 
;n,   more    remini- 
:ompo3itions.    On 
France  (4S9).  by 
rtly  manner.    We 
ishes  of  the  sitter. 
e  style  afterwards 
artist  permits  his 
s  a  clever  but  most 
)le  fruit  and  flower 
tpartments  contain, 
Msitor.    In  Rubens' 
inied  for  a  Spanish 
nitation  of  Spanish 

f  the  Long  Gallery, 
11  rooms— IX,  x,  xi, 

RENCH  Schools. 

2nd  of  these  rooms, 
IS  Holbeiris  portrait 
a  quaint  Venus  by 
mofthe  crude  nude. 
B  centre  of  this  wall, 
1  of  Cologne,  which 
of  the  Italian  and 


,„.]      RENAISSANCE  PARIS   {THE  LOUVPr^      I07 

Flemish  Schools.   The  somewhat  exaggerated  expression  of  grief 
on  all  the  faces  is  strongly  characteristic  of  German  tendencies. 
The  figure  of  the  Magdalen,  to  the  R,  strikes  the  German  keynote; 
so  does  Joseph  of  Arimathea  receiving  the  Crown  of  Thorns. 
Study  this  well,  for  coincidences  with  and  differences  from  Italian 
treatment.     Beyond  it,  two  fine  Holbeim,  of  the  astronomer 
Kratzer,  and  *\Varham,  Archbishop  of  Canterbury,  the  latter  a 
marvellous  piece  of  painting.    The  opposite  wall  also  contains 
good  portraits  and  sacred  pieces,  among  which  an  altarpiece  by 
the  "Master  of  the  Death  of  the  Virgin,"  deserves  careful  study. 
(Most  early  German  masters  are  unknown  to  us  by  name,  and 
are  thus  identified  by  their  most  lamous  pictures.)    The  Last 
Supper  in  this  work,  below,  is  largely  borrowed  from  Lionardo. 
Compare  with  the  copy  of  Lionardo's  fresco  at  M.Ian  m  the 
Long  Gallery,  probably  by  Marco  da  Oggionno  which  hangs 
near  the  Vierge  aux  Rochers.   The  AJ.ration  of  the  Mag.  (597). 
should  also  be  compared  with  the  Italian  examples;  notice  m 
particular  the  burgher  character  of  the  Three  Kings,  which  .s 
essentially  German.     The  other  works  in  ^^is  room  "„  Je 
sufficiently  studied  (for  casual  observers)  by  the  a.d  of  the 

^'^The  English  Room  contains  a  few  examples  of  English 
masters  of  the  last  and  present  century,  "one  of  them  fi._s t-rate^ 
The  most  famous  is  the  frequently  reproduced  L.ttle  Girl  with 
Cherries  by  the  pastellist  John  Russel.    It  is  a  pleasing  work, 

but  not  good  in  colour. 

tL  next  room,  with  an  admirable  view  from  the  window 
begins  the   Modern  French  School(in  the  wide  sense),  and 
cont  Jn    Le  Sueur's  History  of  the  Life  of  St.  Bruno,  painted 
for  a  Carthusian  monastery  near  the  Luxembourg-o.  which 
Irder  the  s^nt  was  the  founder.    They  are  characteristic  ex- 
ample  of  "e  French  work  of  the  early  .7th  century,  and  they 
:Sbit  the  beginnings  of  the  national  tendencies  mart     The 
legends  are  partially  explained  on  the  frames,  and  more  fully 
n^Mrs  Jameson's  "Monastic  Orders."    On  a  cursory  inspec- 
L  the  observer  will  notice  the  marked  French  tendency  m 
the  9th'  7th.  2.st,  and  22nd  of  the  series.     Cold  and  li  eless  m 
design   and  colour,  these  feeble  works  have  now  httle  more 
than  a  historical  interest. 


"li 
91 


liS  ' 


io8 


PARTS 


[III. 


Before  proceeding  to  the  succeeding  rooms  of  the 
French  School, 

you  had  better  form  some  conception   of  the  circumstances 
and  conditions  under  which  that  school  arose.    The  artists 
whom  Francois  l"'  invited  to  Fontainebleau  had  little  mflu- 
ence  on  French  art,  except  in  sculpture  (w'cre  we  shall  see 
their  spirit  abundantly  at  work  when  we  come  to  examine  the 
Renaissance  sculpture  in  this  collection).    Primaticcio  and  his 
followers,  however,  left  behind  them  in  France,  as  regards 
painting,  scarcely  more  than  the  sense  of  a  need  for  improve- 
ment.   Succeeding  French  artists  took  up  the  Italian  Renais- 
sance in  the  stage  represented  by  the  later  decadents  and  the 
eclectic  Caracci.      Nicolas    Poussin  (iS94->665)   is    »he    first 
Frenchman  to  attain  distinction  in  this  line  ;  he  throws  some- 
thing of  French  sentimentality  into  the  affected  mythological 
scenes  of  contemporary  Italy.    Claude  of  Lorraine,  again,  is 
almost  an  Italian  by  training  and  style  ;  his  artificial  landscapes, 
not  copied  direct  from  nature,  but  built  up  by  arbitrary  and  often 
impossible  conjunctions,  represent  the  prevailing  tendencies  of 
Italian  art  in  the  17th  century.    On  the  other  hand,  the  influ- 
ence of  Rubens,  many  of  whose  greatest  works  were  painted 
for  French  kings,  or  came  early  to  France,  and  still  more  of 
Philippe  de  Champaigne,  a  Brussels  master  who  settled  in  Paris 
and  painted  much  for  Richelieu  and  Marie  de  M^icis,  intro- 
duced into  France  a  strain  of  Flemish  influence.    On  these  two 
schools-decadent  Italian  and  later  Flemish— then,  modern 
French  art  at  first  based  itself;  the  final  outcome  is  a  resultant 
of  the  two,  transmuted  and  moulded  in  spirit  and  form  by  the 
innate,  though  at  first  unrealised,  French  tendencies. 

Also,  before  you  proceed  to  examine  the  subsequent  speci- 
mens of  the  development  of  French  art,  you  had  better  return 
to  the  Salon  Carr^  to  inspect  the  portraits  by  Philippe  de 
Champaigne,  as  well  as  the  Jouvenet,  the  Rigaud,  and  other 
French  works  there,  which  I  purposely  passed  by  on  our 
previous  visit,  as  out  of  harmony  with  the  Italian  masterpieces. 
On  your  way  back,  glance  at  the  later  Italian  pictures  in  the 
First  Compartment  of  the  Long  Gallery  (particularly  at  Bron- 
zino's  odiously  vulgar  Christ  and  Mary  Magdalen,  and  Rossi's 


[III. 


of  the 


the  circumstances 
irose.  The  artists 
,u  had  little  influ- 
I'cre  we  shall  see 
me  to  examine  the 
•rimaticcio  and  his 
France,  as  regards 

need  for  improve- 

the  Italian  Renaij- 

decadents  and  the 
-1665)   is    »he    first 

;  he  throws  some- 
ected  mythological 

Lorraine,  again,  is 
irtificial  landscapes, 
f  arbitrary  and  often 
ailing  tendencies  of 
ther  hand,  the  influ- 
works  were  painted 
t,  and  still  more  of 

who  settled  in  Paris 
ie  de  M^icis,  intro- 
ence.  On  these  two 
mish— then,  modern 
utcome  is  a  resultant 
lirit  and  form  by  the 
endencies. 

[le  subsequent  speci- 
ou  had  better  return 
raits  by  Philippe  de 
e  Rigaud,  and  other 
r  passed  by  on  our 

Italian  masterpieces, 
talian  pictures  in  the 
particularly  at  Bron- 
lagdalen,  and  Rossi's 


,„.l      RE^AISSA^■CE   PARIS  (THE  LOUVRE)      I09 

Doubting  Thomas,  both  skied,  on  your  r)  as  conspicuous 
examples  of  the  sort  of  thing  admired  at  the  ♦-«-»';"»'; 
French  School  took  its  first  flights  and  made  .ts  earliest 
experiences.  Then  observe  once  more  the  works  of  the 
School  of  Fontainebleau;  and,  finally,  '^-^^.f'^^^J^'^'^^^Z 
Baedeker's  Room  IX  ;  after  which,  you  w.ll  be  m  a  posU  on 
to  start  fair  in  Room  XIII,  with  the  French  School  m  the  17th 

"ThT  Small  Room  beyond  the  St.  Brunos  plains  more 
favourable  specimens  of  Le  Sueur's  faculty  (such  as  5  9.  5  S^- 
and  55.),  in  which  a  distinctive  French  tendency  st.l  more 
markedly  announces  itself.  The  Ganymede  m  563..."  par^ 
Ucuiar.  flintly  foreshadows  at  a  distance  the  class.c  pamters  of 
the  Empire.  We  see  in  this  room,  in  a  very  vague  way,  an 
early  stage  in  the  evolution  of  a  David.  staircase 

Passing  through  the  Landing,  at  the  head  of  he  staircase 
(with  interesting  terra-cotta  Etruscan  ^-P^^^')  ^  "j;;.;^^' 
the  Great  Gallery  of  French  paintings  of  the  17th  century. 
These  may  be  examined  somewhat  in  the  mass,  exhibiting  as 
they  do,  rather  the  courtly  tendencies  of  the  age  of  Louis  XIV 
han  any  great  individual  artistic  faculty.    We  must  understand 
them  in  the  spirit  which  built  Versailles  and  conducted  the 
warTon  the  northeastern  frontier.    They  are  painted  for  the 
most  pa  t  by  the  command  of  His  Majesty.    Only  here  and 
Terl  does  a  faintly  individual  work,  like  Le  5«,.«r'.  Christ  and 
The  Magdalen,  and  Bearing  of  the  Cross,  or  £.W.^^^^^^^^^ 
arrest  for  a  moment  one's  passing  attention.    The  cnidjness  of 
the  colour,  and  the  insufficiency  of  the  composition  will  be  the 
chief  points,  in  a  general  survey,  to  stn!..  the  spectator.    (On 
a  screen  the  Ltre,  out  of  proper  place  among  its  con - 
Up^rries.  hangs  at  present/'a«/Z?./ar..A^xfamous  Christian 

^m  student  who  has  courage  to  attack  this  mass  of  un- 
int^est  ngart  in  detail,  should  observeparticularly  the  works  of 
7Z1,  as  forming  the  point  of  departure  for  the  School  .n 
general  His  Bacchanal  and  other  mythological  works  set  the 
?;sh  on  of  those  dreary  allegorical  sce.es  which  -er- many 
yards  of  ceilings  in  the  Louvre.  Observe  ^e  jn.xt"e  oj 
JeHgious  themes,  like  Leirun's  Martyrdom  of  Stephen,  and 


■     T* 


PARIS 


[m. 


A''.  Poussitis  Holy  Family,  with  classical  pictures  like  the 
Rescue  of  Fyrrhus,  and  the  Alexander  and  I'orus,  as  well  as  the 
close  similarity  of  treatment  in  both  cases.  Among  the  best  of 
the  lot  Are  Jouvenet's  Raising  of  Lazarus,  and  Lesueur's  Paul 
Preaching  at  Ephesus  (partly  after  Raphael).  *Poussin's  "  Et 
in  Arcadia  ego,"  a  rustic  morality,  is  also  famous,  and  is 
regarded  as  the  greatest  achievement  of  this  artificial  School. 
Clauile's  landscapes,  often  with  a  small  inserted  mythological 
story  by  another  painter,  deserve  attention.  (Note  that  land- 
scape has  hardly  yet  vmdicated  its  claim  to  independent  exist- 
ence.) On  the  whole,  it  may  be  said  that  this  room  represents 
the  two  prevailing  influences  in  French  art  of  the  purely  mon- 
archical period  of  Louis  XIV, — either  the  pictures  are  quasi- 
royal  and  official,  or  else  they  are  religious,  for  church  or 
monastery.  The  mythological  scenes,  indeed,  have  often  a 
royal  reference — are  supposed  parallels  of  contemporary  events  ; 
and  even  the  religious  scenes,  wholly  destitute  of  spiritual  feel- 
ing, are  painted  in  a  courtly,  grandiose  manner.  They  are 
saints  as  conceived  by  flunkeys.  Not  till  the  Revolution  swept 
away  the  royal  patron  did  the  French  spirit  truly  realise  itself. 
This  room  reveals  the  Court,  not  the  nation. 

The  next  room,  in  the  Pavilion  Denon,  a  connecting  pas- 
sage, contains  Portraits  of  Painters,  chiefly  by  themselves, 
a  few  of  which  are  worthy  of  attention.  Among  them  is  the 
famous  and  touching  **  portrait  by  Mme.  Lebrun  of  herself 
and  her  daughter,  which,  in  spite  of  some  theatrical  sentiment 
here  and  there  obtruded,  is  a  charming  realisation  of  maternal 
feeling  amply  recipiocated. 

Beyond  it  we  come  to  the  Frencli  Qaliery  of  the  i8th 
century,  reflecting  for  the  most  part  the  spirit  of  the  Regency 
and  the  Louis  XV  period.  Much  of  it  is  meretricious  ;  much 
of  it  breathes  the  atmosphere  of  the  boudoir.  The  flavour  of 
Du  Barry  pervades  it  almost  all.  It  scents  of  musk  and 
powder.  The  reader  will  pick  out  for  himself  such  works  as 
he  admires  in  this  curious  yet  not  wholly  unpleasing  mass  of 
affectation  and  mediocrity.  Indeed,  as  opposed  to  the  purely 
official  work  in  the  preceding  French  room,  the  growth  of  the 
rococo  spirit,  to  be  traced  in  this  gallery,  is  by  no  means  with- 
out interest.     The  one  set  of  works  sets  forth  the  ideal  of 


[II.. 

pictures  like  the 
rtis,  as  well  as  the 
kmong  the  best  of 
id  Lesueut's  Paul 
*Poussin's  "  Et 
)  famous,  and  is 

artificial  School, 
rted  mythological 

(Note  that  land- 
ndependent  exist- 
s  room  represents 
f  the  purely  mon- 
ictures  are  quasi- 
us,  for  church  or 
cd,  have  often  a 
temporary  events  ; 
e  of  spiritual  feel- 
anner.  They  arc 
Revolution  swept 
truly  realise  itself. 
I. 

I  connecting  pas- 
ly  by  themselves, 
tiong  them  is  the 
Lebrun  of  herself 
eatrical  sentiment 
ation  of  maternal 

ery  of  the  i8th 

it  of  the  Regency 
eretricious ;  much 
r.  The  flavour  of 
nts  of  musk  and 
elf  such  works  as 
npleasing  mass  of 
ised  to  the  purely 
the  growth  of  the 
by  no  means  with- 
forth  the  ideal  of 


III 


III.]    RENAISSANCE  PARIS   {THE  LOUVRE) 

monarchy  as  a  formal  institution  i  the  other  displays  its  actual 
outcome  in  roy.il  mistresses  and  frivolous  amusements.     Here 
too  the  ornate  French  taste— the  Dresden  china  and  Sivrcs 
taste— finds    its    first    faint    embodiment.      Greuat's   famous 
•Cruche  Cassec  (263),  is  the  chief  favourite  with  visitors  to  this 
room.     It  has  about  it  a  certain  false  simplicity,  a  pretended 
virginal  innocence,  which  is  perhaps  the  highest  point  of  art 
this  school  could  attain.     DrouatVs  child  portraits  (187),  are 
more  entirely  characteristic,  in  their  red-and-white  chubbiness, 
of  the  ideas  of  the  epoch.    The  pastoral  scenes  by  IVat/eau 
?.nd  Vanho,  represent  nature  and  country  life,  as  they  en- 
visaged themselves  to  the  painted  and  powdered  'sTcat  ladies 
of  the  Trianon.     CoypePs  Esther  before  Ahasuc.us  is  a  not 
unfavoi-  ible  specimen  of  the  inflated  quasi-sacred  style  of  the 
period.    Some  good  portraits  redeem  the  general  high  level  of 
mediocrity  in  this  room,  but  do  not  equal  those  of  the  daintily 
aristocratic  English  School  of  the  end  of  the  i8th  century. 
Two  Greuzei  (267  and,  still  more,  266),  reveal  the  essentially 
artificial  methods  of  this  superficially  taking  painter.     Most 
observers  begin  by  admiring  him  and  end  by  disliking  his 
ceaseless  posing.     Boucher's  artificial  pink-and-white  nudities 
(as  in  24  and  26),  have  the  air  of  a  man  who  painted,  as  he  did, 
in  a  room  hung  round  with  rose-coloured  satin.    He  is  perhaps 
the  most  typical  of  these  rococo  artists  :  he  imitates  on  canvas 
the  coquettish  ideals  of  the  contemporary  china-painters.    Fra- 
gonard,  again,  throws  into  this  school  the  love  of  display  and 
bravado  of  a  southern  temperament.    At  the  far  end  of  the 
room  we  find  in  Greus^s  later  moralising  pictures  faint  indica- 
tions of  the  altered  and  somewhat  more  earnest  feeling  which 
produced  the  revolutionary  epoch,  still  closely  mixed  up  with 
the  ineradicable  affectation  and  unreality  of  the  painter  and  his 
period.    Two  little  stories  of  a  Prodigal  Son  and  his  too  late 
return,  on  either  side  of  the  doorway,  with  their  violent  theatri- 
cal passion  and  their  excessive  expression  of  impossible  emo- 
tion, illustrate  well  this  nascent  tendency.    They  are  attempts 
to  feel  where  feeling  was  not  really  present.     David's  Pans 
and  Helen  introduces  us,  on  the  other  hand,  to  the  beginnings 
of  the  cold  classicism  which  prevailed  under  the  Empire. 
In  order  to  continue  the  chronological  examination  of  the 


'! 


■-"ifrrvi*flpwM» 


tia 


PAKIS 


[III. 


French  School  the  visitor  muHt  now  return  to  the  Salon  Carrii 
and  traverse  the  vulgarly  ornate  Galcrie  d'Apollon  by  its  side 
(\vhi(  h  contains  objects  of  more  or  less  artistic  interest  in  the 
precious  metals  and  precious  stones,  many  of  which,  especially 
those  in  the  two  last  cases,  deserve  careful  ini.pection.  A 
morning  should,  if  possible,  be  devoted  later  lo  this  collection). 
A  short  connecting  room  beyond  (with  gold  Ktruscan  jewe- 
lery)  gives  access  next  to  the5alle  des  Sepi  r-h»iriin^es<  which 
contains  many  stiff  but  cxiellcnt  works  of  the  period  of  the 
Empire.  The  most  noticeable  of  these  arc  by  David,  whose 
formal  classicism  (a  result  of  the  revolutionary  revolt  ''rom 
Christianity,  with  its  reliance  upon  (ireek,  and  still  more  Roman, 
morality  and  history)  is  excellently  exemplified  in  his  large 
picture  of  the  *  Sabine  Women  Intervening  between  their 
Musbands  and  their  Fathers.  This  is  considered  his  master- 
piece. Its  frigid  style,  not  very  distantly  resembling  that  of 
a  bas-relief,  and  its  declamatory  feeling  do  not  blind  us  to  the 
excellence  of  its  general  technique  and  its  real  advance  on  the 
art  of  the  i8th  century.  David  imitated  the  antique,  but 
was  always  sculpturesque  rather  than  pictorial  in  treatment. 
Among  other  fine  examples  of  this  cImsIc  period — the  tran- 
sitional stage  between  the  i8th  century  and  the  distinctively 
modern  spirit — attention  may  be  called  to  Girartfs  Cupid 
and  Psyche,  and  to  his  fine  portrait  of  the  Marquis  Visconti. 
*Mme.  Lebrun's  charmingly  animated  portrait  of  Mme.  Mole- 
Raymond,  the  comedian,  is  full  of  real  vigour.  Two  good 
portraits  by  David,  of  himself  and  Pius  VII,  deserve  close 
inspection.  Groins  Bonaparte  at  Areola,  is  also  interesting. 
Mtne.  Lebrutis  earlier  portrait  of  herself  and  her  daughter 
is  less  beautiful  than  the  one  we  have  already  examined. 
Several  military  portraits,  such  as  Gros's  Fournier-Sarlovize, 
reflect  the  predominant  militarism  of  the  epoch.  Davids 
huge  canvas  of  the  Coronation  of  Napoleon  I  in  Notre-Dame 
is  typical  of  another  side  of  the  great  artist's  development. 
Gradually,  the  frigidity  of  the  early  revolutionary  period  gave 
way  to  the  growing  romanticism  of  1830.  GMcaulfs  Raft  of 
the  Medusa  (sighting  a  sail  after  twelve  days  out),  strikes 
the  first  keynote  of  the  modem  romantic  movement.  It 
created  a  great  sensation  in  its  own  day,  and  gave  rise  to 


[111. 

le  Salon  C.irrd 
Inn  by  its  side 

interest  in  the 
hich,  especially 
inspection.  A 
his  collection). 
Ktrusc.in  jewe- 
•mlnies,  'vhich 

period  of  the 
f  DaviiU  whDse 
ry  revolt  ''rom 
II  more  Roman, 
d  in  his  lar^e 

between  their 
ed  his  master- 
mbling  that  of 
blind  lis  to  the 
advance  on  the 
le  antique,  but 
I  in  treatment. 
riod— the  tran- 
he  distinctively 
'jirani's  Cupid 
trquis  Visconti. 
of  Mme.  Mole- 
ir.  Two  good 
,  deserve  close 
Iso  interesting. 
1  her  daughter 
ady  examined. 
rnier-Sarlov6ze, 
joch.  Davids 
in  Notre-Dame 
s  development, 
try  period  gave 
■icaults  Raft  of 
ys  out),  strikes 
movement.  It 
d  gave  rise  to 


ml      RENAISSANCE  PAKIS  {THE  LOUVRE)      I  13 

endless  discussion  and  animadveriion.     It  marks  ihe  advent 
of  the  •motional  in  modern  art.    Groses  Bonaparte  Vis.tmg 
the  Plague-.tricken  at  Jaffa,  also  indicate,  in  another  way  a 
marked  modernising   tendency.     The  school  of  blood  and 
wounds,  of  the  morbid  and  the  ghastly,  has  here  its  forerunner. 
All  the  works  in  this  room  (which  modernity  forbids  me  to  treat 
at  adequate  length)  should  be  carefully  studied  in  detail  and 
comparison  by  those  who  wish  to  understand  the  various  steps 
which  led  »o  the  evolution  of  modern  French  painting.    Cu.- 
rin's  Return  of  Marcus  Sextus,  and  Girodtfs  Burial  of  Atala, 
in  particular,  mark  special  phases  of  transition  from  the  coldly 
classical  to  the  romantic  tendency.    This  room,  in  one  word, 
begins  with  the  »evere;  it  ends  with  the  melodramatic. 

The  room  beyond,  known  as  the  Salle  Henri  II.  «  so  nearly 
modern  in  tone  that  the  reader  may  be  safely  trusted  to  inspect 
it  on  his  own  knowledge.  Girauds  Slave-dealer  and  aass/na,^^ 
Tepidarium  are  its  most  popular  pictures.  It  lies  outside  the 
scope  of  the  present  handbook. 

The  Salle  LaCaze.  however,  still  beyond,  contains  a  collec- 
tion kept  separately  apart  by  the  express  desire  of  the  donor, 
and  includes  many  works  both  of  earlier  schools  and  of  the 
French  17th  and  18th  century,  worthy  of  the  greatest  attention. 
It  is  especially  rich  in  works  of  the  rococo  painiers,  better  ex- 
emplified here  than  in  the  main  collection.    Beginning  on  the 
L  I  will  merely  enumerate  a  few  of  the  most  important  works. 
An  excellent  Hondtkotter,  skied.    A  noble  portrait  by  Tinto- 
retto of  a  Venetian  magnate.   A  most  characteristic  Fragonard, 
lull  of  the  morganatic  sentiment  of  the  i8th  century.    Portraits 
by  Nattier,  iflfording  more  pleasing  examples  of  the  early  i8th 
century  style  than  those  we  have  hitherto  examined.    Above  it, 
a  mediocre  Tintoretto  of  Susanna  at  the  Bath,  not  good  m 
colour.     Centre  of  the  hall,  *W^tea^s  GiUes,  an  excellent 
embodiment  of  the  innocent  fool  of  traditional  F      -h  comedy. 
*Fram  HMs  sly  figure  of  a  Gipsy  Woman  is  a  fii.e  piece  of 
vulgar  character-painting.   A  good  Greuze,  etc.   Examine  more 
particularly  the  works  by   Watttau,  Fragonard,   and   other 
boudoir  painters,  whose  pictures  on  this  wall  give  a  more 
pleasing  and  fuller  idea  of  the  temperament  of  their  school  than 
that  which  we  obtained  in  other  parts  of  the  collection.    R  wall 

H 


ti4 


PAHIS 


[111. 


returning  —  icveral  kooiI  IVa//e(Wf,  lioui/iets,  Crcuzes,  etc. 
Excellent  Hinall  Dutch  pictures.  Fine  portrait  by  Remhrandt. 
Kembr.indt'ii  Woman  at  the  Uath  is  a  characteri^li(  example 
of  his  strikingly  original  conception  of  the  nude.  Ribera's  Club- 
footed  lioy  is  a  Spanish  pendant  to  Krans  Hals's  (iipsy.  'I'his 
room,  containing  as  it  does  very  mixed  examples  of  all  the 
schools,  should  only  be  visited  after  the  s|)ectat()r  has  obtained 
some  idea  of  each  in  other  parts  of  the  collection.  Its  Dutcii 
works,  in  particular,  arc  admirable.  I  do  not  enumerate  them, 
as  enumeration  is  useless,  but  leave  it  to  the  reader  to  pick  out 
for  himself  several  fine  examples. 

Now  traverse  the  Galerie  d'Apollon,  Salon  Carre',  and  Long 
Gallery  till  you  arrive  at  the 

Hall  ok  Fainters  or  the  iqth  Century, 

(Room  VIII  in  Haedeker's  plan).  This  hall  contains  for  the 
most  part  the  works  of  artists  of  the  period  of  Louis  Philippe  and 
the  early  Second  Empire— almost  our  own  contemporaries.  I 
will  therefore  only  briefly  call  attention  here  to  the  pictures  of 
the  romantic  historical  achool,  then  so  prevalent  in  France, 
of  which  DeliirocMs  Death  of  Queen  Elizabeth  and  Princes  in 
the  Tower  and  Delacroix's  Capture  of  Constantinople  by  the 
Crusaders  are  conspicuous  examples.  DevMiis  popular  Hirth 
of  Henri  IV  belongs  to  the  same  category.  These  "pic- 
turesque" treatments  of  history  answer  in  painting  to  the 
malign  influence  of  Walter  Scott  and  Victor  Hugo  in  litera- 
ture. Contrasted  with  them  are  such  semi-classical  works  of 
the  school  of  David,  softened  and  modernised,  as  Ingres's  Apo- 
theosis of  Homer— the  great  poet  crowned  by  Fame,  with  the 
Iliad  and  Odyssey  at  the  base  of  his  pedestal,  and  surrounded 
by  a  concourse  of  ancient  and  modern  singers.  It  is  cold  but 
dignified.  Lethiire's  Death  of  Virginia,  and  Couture's  Romans 
of  the  Decadence,  represent  to  a  certain  extent  a  blending  of 
these  two  main  influences.  I  will  not,  however,  particularise, 
as  almost  every  picture  in  this  room  deserves  some  study  from 
the  point  of  view  of  the  evolution  of  contemporary  art.  I  will 
merely  ask  the  reader  not  to  overlook  Flandriris  famous  nude 
tigurc,  the  typical  landscapes  by  Rousseau  and  Millet,  and 
Davids  exquisite  portrait  of  Mme.  R(5camier— sufficient  in  it- 


w^ 


"rsW-*-^^  1??'"®^'™!!'  f* 


[in. 

trs,  Greuies,  etc. 
lit  by  KemfirnHiU. 
icteii^tic  example 
e.  Kibera's  Club- 
ils's  Gipsy.  'Ihis 
ample!)  of  ull  the 
ntor  hu!t  obtained 
ction.  Its  Dutcii 
enumerate  them, 
reader  to  pick  out 

Carr«5,  and  Loni; 


^KNTURV, 

I  contains  for  the 
.ouis  Philippe  and 
ontemporaries.  I 
to  the  pictures  of 
cvalcnt  in  France, 
th  and  Princes  in 
tantinople  by  the 
la's  popular  Hirth 
y.  These  "  pic- 
painting  to  the 
r  flugo  in  litera- 
:lassical  works  of 
I,  as  Ingres' s  Apo- 
y  Fame,  with  the 
I,  and  surrounded 
rs.  It  is  cold  but 
Coutur^s  Romans 
£nt  a  blending  of 
iver,  particularise, 
i  some  study  from 
lorary  art.  I  will 
■in's  famous  nude 
and  Millet,  and 
■ — sufficient  in  it- 


III]      HENAISSANCE   PAHIS  (TUk   LOUVNE)      11  j 

•elf  to  immortalise  both  artist  and  sitter,     The  electric  ii  tlucnc  e 
of  a  beautiful  and  pure-souleu   woman   has   here  gal  aniscd 
David  for  once  into  full  perception  and  rcprodui  tion  of  truth 
and  nature.    Even  the  severe  Empire  furniture  and  background 
exactly  accord  with  the  character  of  the  picture.    Ary  .S<  hclTcr's 
religious  works,  in  his  peculiar  twilight  style,  on  a  solid  blue 
background,  will  strike  every  observer.    Millet's  Gleaners  and 
Troyoris  group  of  oxen  strike  each  a  new  note  in  art  at  the 
period  when  tliey  were  painted.    As  a  whole  this  Gallery  re- 
presents all  the  various  strands  of  feeling  which  have  gone  to 
the  production  of  modern  painting.     It  attains  to  the  threshold 
of  cosmopolitanism  in  its  Arabs,  its  negroes,  and  its  Algerian 
women  :  it  is  bloodthirsty  and  sensuous  ;  it  is  calm  and  medi- 
tative ;  it  dashes  with  Courbet  ;  it  refines  with  Millet ;  it  oscil- 
lates  between  the  world,  the  flesh,  and  the  devil ;  it  is  pious 
and  meretricious  ;  it  sums  up  in  itself  the  endless  contradictory 
and  interlacing  tendencies  of  the  Nineteenth  Century.    As  re- 
gards chronological  sequence,  one  may  say  pretty  fairly  that  it 
begins  with  classicism,  passes  through  romanticism,  and  ends 
for  the  moment  in  religious  reaction. 

Come  back  often  to  the  pictures  in  the  Louvre,  especially  the 
Salle  des  Primitifs,  the  Salon  Carrd,  and  the  first  two  bays  of 
the  Long  Gallery. 

Further  Hints  on  the  Paintings  in  the  Louvre. 

The  reader  must  not  suppose  that  these  brief  notes  give  any- 
thing like  an  adequate  idea  of  the  way  in  which  pictures  in  such 
a  gallery  as  the  Louvre  ought  to  be  studied.  My  object  in  these 
Guides  being  mainly  to  open  a  door,  that  the  tourist  himself 
may  enter  and  look  about  him  carefully,  I  have  given  first  this 
connected  account  of  all  the  rooms  in  chronological  order,  for 
the  use  of  those  whose  time  is  very  limited,  and  who  desire  to 
go  through  the  collection  seriatim.  But  for  the  benefit  of  others 
who  can  afford  to  pay  many  succeMive  visits,  I  will  now  take 
one  or  two  particular  pictures  in  detail,  suggesting  what  seem 
to  me  the  best  and  most  fruitful  ways  in  which  to  study  thtm. 
Try  for  yoursel.  afterwards  to  fill  in  a  similar  scheme,  as  far  as 
you  can,  for  most  of  the  finest  works  in  this  Gallery. 

I  will  begin  with  No.  251,  in  the  Salle  des  Primitifs— Man- 


1 


^rim 


tl6 


PARIS 


tegna's  beautiful  and  iilowing  Madonna  della  Vittoria.  And 
I  take  Mantegna  first,  because  (among  other  reasons)  he  is  a 
painter  who  can  be  fairly  well  studied  by  means  of  the  pictures 
in  this  Gallery  alone,  without  any  large  reference  to  his  remain- 
ing works  in  I'  ily  or  elsewhere. 

Now,  first,  who  and  what  was  Mantegna,  and  what  place 
does  he  fill  in  the  history  of  art  in  Italy  ?  Well,  he  was  a 
Paduan  painter,  born  in  1431,  died  in  1506— abo-it  the  time 
when  Raphael  was  painting  the  Belle  Jardiniiire,  in  this  collec- 
tion. He  was  a  contemporary  and  brother-in-law  of  Giovanni 
and  Gentile  Bellini :  and  if  you  compare  his  work  with  that  of 
the  two  Bellinis,  even  as  very  inadequately  represented  here, 
you  will  see  that  their  art  has  much  in  common— that  they 
stood  at  about  the  same  level  of  historical  evolution,  and  painted 
in  the  same  careful,  precise,  and  accurate  manner  of  the  second 
half  of  the  fifteenth  century.  Contrast  them,  on  the  one  hand, 
with  their  immediate  predecessors,  such  as  Filippo  Lippi  and 
Benozzo  Gozzoli  (juniors  by  roughly  about  20  years),  in  order 
to  mark  the  advance  they  made  on  the  art  of  those  who 
went  just  before  them  ;  and  compare  them,  on  the  other  hand, 
with  their  immediate  successors,  such  as  Raphael,  and  even 
their  more  advanced  contemporaries,  like  Lionardo,  in  order  to 
see  what  place  they  fill  in  the  development  of  painting. 

Again,  Mantegna  was  a  pupil  of  Squarcione  of  Padua, 
who  practically  founded  the  Paduan  school.  Now  Squarcione 
had  travelled  in  Greece  and  formed  a  collection  of  antiques, 
from  which  his  pupils  made  drawings  and  studies.  Also 
Donatello  (the  great  Florentine  sculptor  of  the  early  Renais- 
sance, of  whose  work  you  can  find  some  beautiful  examples  in 
the  Renaissance  Sculpture  rooms  of  this  museum)  had  executed 
several  bronzes  in  the  church  of  Sant'  Antonio,  the  great  local 
saint  of  Padua ;  and  these  likewise  Mantegna  studied  ;  so  that 
much  of  his  work  bears  traces  of  the  influence  of  sculpture  and 
especially  of  bas-relief.  He  is  particularly  fond  of  introducing 
reliefs,  festoons  of  fruit  or  flowers,  and  classical  detail  into  the 
accessories  of  his  pictures  :  and  these  peculiarities  are  well 
marked  in  the  Mars  and  Venus,  the  Crucifixion,  and  the  Ma- 
donna della  Vittoria  in  this  collection.  Compare  all  these 
closely  with  one  another  till  you  think  you  have  formed  a  fair 


[ill. 

a  Vittoria.    And 

r  reasons)  he  is  a 
ins  of  the  pictures 
nee  to  his  remain- 

I,  and  what  place 
Well,  he  was  a 
5— aboMt  the  time 
ifere,  in  this  collec- 
In-law  of  Giovanni 
work  with  that  of 
represented  here, 
)mmon — that  they 
lution,  and  painted 
nner  of  the  second 
,  on  the  one  hand, 
Filippo  Lippi  and 
lo  years),  in  order 
art  of  those  who 
}n  the  other  hand, 
[Raphael,  and  even 
onardo,  in  order  to 
F  painting. 
ircione  of  Padua, 
Now  Squarcione 
ection  of  antiques, 
id  studies.  Also 
f  the  early  Renais- 
lutiful  examples  in 
eum)  had  executed 
nio,  the  great  local 
la  studied  ;  so  that 
ce  of  sculpture  and 
snd  of  introducing 
ical  detail  into  the 
:uliarities  are  well 
ixion,  and  the  Ma- 
Compare  all  these 
have  formed  a  fair 


HI.]      RENAISSANCE  PARIS  {THE  LOUVRE)     II7 

idea  of  Mantegna's  powerful  drawing,  strong  realism,  love  of 
the  antique,  solemnity  and  dignity,  clear-cut  style,  and  perfect 
mastery  of  anatomy  and  technique.  Notice  his  delicate,  careful, 
conscientious  workmanship  ;  the  precision  and  perfection  of  his 
hands  and  feet  ;  the  joy  with  which  he  lingers  over  classical 
costume  and  the  painting  of  armour.  Everything  is  sharp  and 
defined  as  in  the  air  of  Italy,  yet  never  hard,  or  crude,  or 
angular.  Observe,  also,  the  sculpture-like  folds  of  his  carefully 
arranged  draperies,  and  his  love  for  shot  colours  and  melting 
tints  on  metal  or  marble.  The  St.  Michael  in  this  picture,  and 
the  Roman  soldiers  in  the  Crucifixion,  are  admirable  examples 
of  this  tone  in  his  colouring.  If  you  wished  to  characterise 
Mantegna  in  a  single  phrase,  however,  you  might  fairly  say  he 
was  the  most  acalpturesque  of  painters. 

As  to  date,  the  Crucitixiou  (in  the  Salon   Jarr^)   which 

formed  one  piece  only  of  the  predella,  or  series  of  small 

pictures  at  the  base  of  the  great  Madonna  in  the  Church  of 

San  Zeno  at  Verona,  is  the  earliest  example  of  Mantegna's  work 

here.    It  displays  the  delicate  and  exquisite  finish  of  his  youthful 

period  :  but  it  is  much  more  mediaeval  in  tone— has  far  less 

freedom  and  conscious  artistic  power— than  the  Madonna  della 

Vittoria,  which  belongs  to  the  latest  epoch  of  the  great  painter's 

development.    Observe  the  early  severity  of  the  figures  in  the 

Crucifixion,  and  the  firmness  of  the  drawing  :  each  personage 

stands  out  with  statuesque  distinctness.    But  note,  too,  that  at 

:his  early  stage,  Mantegna's  expression  of  emotion  was  still 

inadequate  :  in  his  striving  to  be  powerful,  he  overdid  the 

passions,  sometimes  almost  to  the  verge  of  grotesqueness.    On 

the  other  hand,  do  not  overlook  the  dramatic  force  of  the 

picture,  as  shewn,  for  example,  in  the  vivid  contrast  between 

the  anguish  of  the  Madonna,  with  her  attendant  St.  John,  &c., 

and  the  callous  carelessness  of  the  soldiers  casting  lots  for  the 

Redeemer's  raim-nt.    The  Mars  and  Venus,  once  more,  of  his 

middle  period,  represents  an  intermediate  stage  between  the 

two  styles.    What  is  meant  by  a  predella,  again,  you  can  see 

by  looking  at  Fra  Angelico's  Coronation  of  the  Virgin,  and  other 

similar  pictures  in  this  room— the  little  figures  of  St.  Dominic 

and  his  miracles  beneath  the  main  altar-piece  being  examples 

of  this  adjunct.    The  Crucifixion  formed  the  central  picture  of 


wi^ 


ii8 


PARIS 


[III. 


three  such  minor  episodes  :  the  Agony  in  the  Garden  and  the 
Ascension,  to  right  and  left  of  it,  are  now  in  the  Museum 
at  Tours.  Napoleon  I  had  carried  off  the  entire  work  from 
Verona :  at  the  Restoration,  the  Madonna  was  returned  to  San 
Zeno,  but  the  three  pieces  of  the  predella  were  retained  in 
France  and  thus  distributed.  If  you  go  to  Tours  or  Verona, 
recollect  the  connection  of  the  various  fragments. 

Next,  what  was  the  occasion  for  painting  this  Madonna  delta 
Vittona?  You  will  remember  that  in  1494,  Charles  VIII  of 
France,  invited  by  Ludovico  Sforza,  Duke  of  Milan,  invaded 
North  Italy,  and  conquered  a  large  part  of  it,  including  Florence, 
Pisa,  and  Rome  itself.  Marching  then  on  Naples,  the  boy  king 
achieved  a  further  success,  which  turned  his  own  head  and  that 
of  his  army.  (Read  up  all  this  episode  in  any  good  French 
history.)  But  Venice,  trembling  for  her  supremacy,  formed  a 
league  against  him  ;  and  soon  after,  all  Italy,  alarmed  at  his 
success,  coalesced  to  repel  the  invader.  The  little  Republics 
united  their  forces  under  Giovanni  Francesco  Gonzaga,  Marquis 
of  Mantua,  and  met  Charles,  on  the  6th  of  July,  1495,  a*  the 
pass  of  Fornova,  on  the  Tare.  The  French  king,  it  is  true, 
forced  his  way  through  the  hostile  army,  and  made  good  his 
retreat :  but  the  allies,  though  baffled,  claimed  the  victory,  and, 
as  a  matter  of  fact,  Charles  immediately  concluded  a  treaty  ot 
peace  and  returned  to  Lyons.  In  commemoration  of  this  event, 
the  Marquis  Gonzaga  in  gratitude  erected  a  church  at  Mantua 
as  a  votive  offering  to  the  Madonna,  and  dedicated  it  under  the 
name  of  Santa  Maria  delta  Vittoria. 

At  that  time  and  for  some  years  previously  Mantegna  had 
been  in  the  service  of  the  Qonzaga  family  at  Mantua,  where 
he  lived  for  the  greater  part  of  his  artistic  life.  In  the  Castello 
of  that  town,  he  executed  several  frescoes,  illustrating  domestic 
events  in  the  history  of  the  Gonzagas,  which  are  still  among 
the  most  interesting  objects  to  be  visited  in  Mantua.  It  was 
natural,  therefore,  that  he  should  be  invited  by  Giovanni  Fran- 
cesco Gonzaga  to  paint  the  altar-piece  for  the  high  altar  of  the 
church  to  commemorate  this  victory.  The  picture  must  have 
been  finished  about  the  year  1498  or  1500.  It  stood  in  the 
building  for  which  it  was  painted  till  Napoleon  1  brought  it 
from  Italy  to  Paris,  where  it  has  ever  since  remained. 


[m. 

jarden  and  the 
n  the  Museum 
itire  work  from 
returned  to  San 
:rc  retained  in 
>urs  or  Verona, 
s. 

Madonna  delta 
;harles  VIII  of 
Milan,  invaded 
luding  Florence, 
es,  the  boy  king 
n  head  and  that 
ly  good  French 
imacy,  formed  a 
,  alarmed  at  his 
little  Republics 
onzaga,  Marquis 
uly,  1495,  ^t  the 
king,  it  is  true, 
made  good  his 
the  victory,  and, 
ided  a  treaty  ot 
on  of  this  event, 
lurch  at  Mantua 
ited  it  under  the 

Mantegna  had 
Mantua,  where 

In  the  Castello 
trating  domestic 
are  still  among 
Mantua.    It  was 

Giovanni  Fran- 
high  altar  of  the 
cture  must  have 
It  stood  in  the 
on  I  brought  it 
lained. 


Ill]      RENAISSANCE  PARTS  {THE  LOUVRE)     1 19 

These  circumstances  sufficiently  explain  the  collection  of 
saints  who  figure  in  the  picture.    In  the  centre  is  the  Madonna 
of  Victory  herself,  to  whom  Gonzaga  vowed  the  church  in  case 
he  should  be  successful.    She  is  enthroned,  as  usual.    The 
garlands  of  flowers  and  fruit,  and  the  coral  over  her  head,  a  e 
favourite  accessories  with  Mantegna  :  they  occur  again  in  the 
(much  earlier)  Madonna  at  San  Zeno,  Verona,  of  which  the 
Crucifixion  here  formed  part  of  the  predella.    The  figures  of 
Adam  and  Eve,  in  imitation  of  relief,  on  the  pedestal,  are 
thoroughly  characteristic  of  Manlegna's  style,  and  recall  the 
Paduan  school  of  Squarcione,  and  the  master's  dependence  on 
the  work  of  Donatello.    The  overloading  of  the  picture  with 
flowers,  festoons  and  architectural  decoration  is  also  a  Paduan 
feature  of  the  same  school  :  it  comes  out  equally  in  the  works 
of  Carlo  Crivelli— not  well  seen  in  this  collection.    On  his 
knees  in  the  foreground  is  Qonzasa  himself,  with  his  villainous 
Italian  Renaissance  face,  as  of  a  man  who  would  try  to  bribe 
Our  Lady  with  presents.    And  indeed  Our  Lady  stretches  out 
her  friendly  hand  towards  him,  as  if  to  assure  him  of  favour 
and  victory.    Notice  that  the  Marquis  wears  his  armciir  :  he  is 
giving  thanks,  as  it  were,  on  the  field  of  battle. 

As  often  with  Mantegna,  the  minor  characters  and  saints 
are  fuller  of  life  than  the  two  central  divine  oersonages  :  his 
Madonnas  have  frequently  a  tendency  to  be  insipid.  On  the 
left  of  the  picture,  flanking  the  Virgin,  stands  St.  Michael  the 
Archangel,  the  "  warrior  of  God,"  as  representing  the  idea  that 
the  Lord  of  Hosts  fought  on  the  side  of  the  Italian  confederacy. 
This  beautiful  figure,  clad  in  refulgent  heavenly  armour,  is  one 
of  the  noblest  and  loveliest  that  Mantegna  ever  painted.  Com- 
pare  it  with  the  two  St.  Michaels  by  Raphael,  the  early  one  in 
the  Long  Gallery  :  the  later  in  the  Salon  Carrd :  note  the 
general  similarity  of  type,  with  the  divergence  in  treatment.  A 
little  behind,  again,  half  seen,  stands  St.  Andrew,  who  was 
both  Andrea  Mantegna's  own  name-sake,  and  also  one  of  the 
patrons  of  Mantua.  He  has  an  important  church  dedicated 
in  his  honour  in  that  town— a  Renaissance  church,  by  Leon 
Battista  Albert! :  and  in  this  church  of  his  patron,  Mantegna 
himself  is  buried.  For  the  altar-piece  of  this  same  church, 
which  he  had  doubtless  selected  beforehand  for  his  own  last 


130 


PARIS 


[III. 


resting-place,  the  great  artist  also  painted  a  representation  of 
the  risen  Saviour,  with  St.  Andrew  holding  the  cross  of  his 
martyrdom  on  one  side,  and  St.  Longinus  (of  whom  more 
shortly)  with  his  spear  on  the  other.  Thus  there  was  every 
reason  both  why  St.  Andrew  should  be  represented  in  a  picture 
painted  for  the  Marquis  of  Mantua,  and  why  he  should  more 
particularly  appear  in  a  work  by  Andrea  Mantegna.  As  one 
of  the  patron  saints  of  town  and  painter,  he  naturally  had  his 
share  in  the  thanksgiving  for  the  victory.  His  features  in  this 
picture  and  in  the  one  at  Mantua  are  closely  similar.  Mantegna, 
indeed,  imi'  ted  an  older  type,  which  he  made  his  own,  and  re- 
produced like  a  portrait.  Note  that  St.  Andrew  bears  a  cross 
as  his  symbol. 

On  the  other  side  of  the  Madonna,  5t.  Elizabeth  kneels  in 
the  foreground,  representing,  I  think,  the  patron  saint  of  the 
Marchesa,  Gonzaga's  wife,  who  was  Isabella  d'Este,  sister  of 
Duke  Alfonso  of  Ferrara.  (Isabella  and  Elisabeth  are  always 
regarded  as  variants  of  the  same  name.)  Now  in  the  chapel  of 
St.  Longinus  in  the  church  of  St.  Andrea  at  Mantua,  aforesaid, 
where  Mantegna  is  buried,  he  also  painted  a  Madonna,  with 
this  same  St.  Elizabeth,  holding  the  infant  St.  John  Baptist, 
while  the  child  Christ  blesses  him  :  no  doubt  a  votive  offering 
from  Isabella.  Here  again  we  have  a  type  of  St.  Elizabeth 
repeated  in  this  picture.  Behind  St.  Elizabeth  stands  the  ex- 
quisitely wistful  St.  Qeorse,  the  patron  saint  of  the  Venetian 
territory,  representing  the  part  borne  by  Venice  and  her  depen- 
dencies in  the  war  of  expulsion  :  the  patron  receives  the  thanks 
of  his  faithful  votaries.  (Mrs.  Jameson  thinks  this  figure  is  St. 
Maurice,  another  military  saint,  and  patron  of  Mantua  :  com- 
parison, with  various  St.  Georges  and  St.  Maurices  elsewhere 
makes  me  disagree  with  her.  Besides,  St.  George's  lance  is 
often  broken,  as  here  :  you  can  note  it  so  in  the  Raphael  of  the 
Long  Gallery.)  In  the  background  stands  St.  Longinus,  a 
Roman  soldier,  distinguishable  by  his  lance  and  antique  helmet. 
According  to  tradition,  Longinus  was  the  centurion  who  pierced 
the  side  of  Christ :  you  see  him  so  in  the  famous  Rubens 
(called  the  Coup  de  Lance)  at  Antwerp,  and  in  almost  every 
mediaeval  Crucifixion  or  Calvary.  (Look  out  for  him  in  future.) 
When  he  saw  the  wonders  which  accompanied  the  Passion,  we 


[III. 

ipresentation  of 
he  cross  of  his 
of  whom  more 
here  was  every 
itsd  in  a  picture 
lie  should  more 
itegna.  As  one 
aturally  had  his 
features  in  this 
ilar.  Mantegna, 
his  own,  and  re- 
w  bears  a  cross 

■beth  kneels  in 
on  saint  of  the 
I'Este,  sister  of 
beth  are  always 
in  the  chapel  of 
mtua,  aforesaid, 

Madonna,  with 
t.  John  Baptist, 
I  votive  offering 
of  St.  Elizabeth 
I  stands  the  ex- 
of  the  Venetian 

and  her  depen- 
eives  the  thanks 
this  figure  is  St. 

Mantua  :  com- 
irices  elsewhere 
Gorge's  lance  is 

Raphael  of  the 
t.  Longlnus,  a 
antique  helmet, 
ion  who  pierced 
famous  Rubens 
in  almost  every 
r  him  in  future.) 
the  Passion,  we 


III.]      RENAISSANCE  PARIS  (THE  LOUVRE)     121 

are  told  in  scripture  that  he  exclaimed,  "  Truly  this  man  was 
the  Son  of  God."  Later  legend  made  him  be  converted,  after 
being  afflicted  with  sudden  blindness,  and  undergo  a  singular 
voluntary  martyrdom.  His  relics  were  brought  to  Mantua  in 
the  nth  century,  and  he  has  ever  since  been  the  chief  patron 
saint  of  that  city.  Mantegna  painted  him  often,  and  sometimes 
made  a  type  of  him.  In  the  picture  already  described  in  the 
chapel  of  St.  Longinus,  he  answers,  as  here,  to  St.  Andrew,  and 
wears  a  classical  costume,  on  which  the  painter  has  lavished  his 
usual  care  and  minute  accuracy  of  drawing.  Notice  him  also 
in  the  foreground  of  Mantegna's  Crucifixion  in  the  Salon  Carr^, 
bearing  his  spear— where,  however,  the  type  is  not  followed  as 
usu&l.  Thus  not  one  of  the  characters  grouped  around  the 
Madonna  in  this  exquisite  picture  is  without  its  full  relevancy 
and  meaning. 

Do  not  overlook  in  this  military  votive  offering  the  pre- 
ponderance of  soldier  saints,  and  their  appearance  under  arms, 
to  commemorate  the  victory. 

Observe  also  the  way  in  which  St.  George  and  St.  Michael 
hold  the  Madonna's  mantle,  so  as  to  enclose  or  embrace  Gon- 
zaga  and  his  wife's  patroness,  St.  Elizabeth.  This  is  a  symbol 
o^  ;he  Madonna's  protection  :  in  what  is  called  a  Madonna  delta 
Misericordia  Our  Lady's  robe  thus  shelters  numerous  votaries. 
So,  at  Cluny,  you  will  find  a  sculptured  St.  Ursula  (in  Room  VI) 
sheltering  under  her  mantle  as  many  of  the  i  i,ooo  Virgins  as 
the  sculptor  could  manage— as  she  also  does  in  the  Memling  at 
Bruges. 

On  the  BSthetic  side,  note  once  more  the  marked  distinc- 
tion which  Mantegna  draws  between  the  historical  portrait  of 
the  kneeling  Gonzaga— a  most  ruthless  ruffian— and  the  ideal 
figures  of  saints  by  whom  he  is  surrounded.  Remark,  again, 
the  angelic  sweetness  of  the  round-faced  St.  Michael,  contrasted 
with  the  purely  human  look  of  longing  and  strife,  and  the 
guarded  purity  in  the  countenance  of  the  St.  George— who 
almost  foreshadows  Burne- Jones  and  Rossetti.  Observe,  too, 
how  this  romantic  saint  serves  as  a  foil  to  the  practical  Roman 
Longinus,  with  his  honest  and  sober  face,  and  his  soldierly 
sense  of  duty.  Study  the  melting  tones  of  colour  throughout, 
and  contrast  the  simple  devotional  calm  of  this  religious  work 


I, 


I 


122 


PARIS 


[in. 


with  the  rapidity  and  movement  of  the  mundane  Mars  and 
Venus  beside  it.  Do  not  overlook  a  single  detail ;  every  hand 
and  foot,  every  surface  of  metal,  every  fruit  and  flower  is  worthy 
of  attention. 

As  always,  I  have  only  tried  here  to  explain  this  picture,  not 
to  make  you  admire  it.  But  the  longer  you  look  at  it  the  more 
you  will  be  charmed  by  its  wonderful  colour,  its  poetic  grace, 
and  the  exquisite  beauty  of  its  drawing  and  composition. 

Now,  still  in  the  same  connection,  go  on  into  the  Long  Gallery, 
and  look,  near  Andrea  del  Sarto's  Holy  Family,  at  a  mannered 
and  theatrical  picture  of  the  Nativity  by  Qiulio  Romano. 
This  is  not  a  Nativity  simple,  but  one  with  selected  saints  look- 
ing on  :  it  was  painted  for  the  altar-piece  of  the  altar  of  the 
Chapel  of  St.  Longinus  in  Sant'  Andrea  at  Mantua— the  same  in 
which  Mantegna  had  earlier  painted  the  Longinus  pictures  noted 
above.  The  central  portion  of  this  altar-piece  consists  of  a 
tolerably  conventional  Nativity,  with  the  adoring  shepherds, 
Kaphaelized  by  Giulio  Romano  (who  was  Raphael's  favourite 
pupil)  in  accordance  with  the  ideas  of  the  early  i6th  cent. 
(It  is  interesting  to  note,  by  the  way,  the  nature  of  these  modifi- 
cations.) In  the  background  is  the  herald  angel  appearing  to 
the  shepherds  :  this  scene,  prior  in  time  to  the  other,  was  often 
so  represented  in  the  same  picture  or  carving  :  look  out  for  it 
elsewhere,  and  also  for  such  non-contemporaneous  episodes  in 
general.  But  the  attendant  saints,  to  right  and  left,  looking  on 
at  the  sacred  scene,  are  St.  John  the  Evangelist  (known  by  his 
chalice  and  serpent)  and  5t.  Longinus.  The  last-named  holds 
in  his  hands  a  crystal  vase — a  pyx  or  reliquary,  containing  the 
sacred  blood  of  Christ,  which  Longinus  caught  as  it  fell,  and 
which  was  brought  with  the  rest  of  the  relics  to  Mantua,  and 
preserved  in  the  very  chapel  for  which  this  picture  was  in- 
tended. Compare  this  dull  Longinus  with  the  two  by  Mantegna 
in  this  collection  :  and  when  you  visit  Mantua,  remember  that 
these  pictures  came  from  these  two  churches.  By  thus  inter- 
weaving your  facts,  you  will  get  a  far  clearer  conception  in  the 
end  of  tlie  connection  of  art  than  you  can  possibly  do  if  you 
regard  the  various  works  in  pure  isolation. 

But  what  was  Qiulio  Romano  doing  at  Mantua?     After 
Raphael's  death,  his  pupils  were  dispersed ;  and  this  his  favourite 


[HI. 

>dane  Mars  and 
tail ;  every  hand 
,  flower  is  worthy 

this  picture,  not 
lok  at  it  the  more 
its  poetic  grace, 
Tiposition. 
the  Long  Gallery, 
ly,  at  a  mannered 
Hulio  Romano. 
ected  saints  look- 
the  altar  of  the 
itua — the  same  in 
ms  pictures  noted 
;ce  consists  of  a 
oring  shepherds, 
aphael's  favourite 
early  i6th  cent. 
e  of  these  modifi- 
igel  appearing  to 
e  other,  was  often 
g  :  look  out  for  it 
leous  episodes  in 
d  left,  looking  on 
ist  (known  by  his 
last-named  holds 
■y,  containing  the 
;ht  as  it  fell,  and 
to  Mantua,  and 
picture  was  in- 
two  by  Mantegna 
la,  remember  that 
s.  By  thus  inter- 
conception  in  the 
possibly  do  if  you 

Mantua  ?     After 
i  this  his  favourite 


in.]      REXAISSAIVCE  PARIS  {THE  LOUVRE)     123 

follower  settled  down  in  the  service  of  Duke  Federigo  Gonzaga 
(the  first  Duke— the  earlier  lords  were  Marquises),  for  whom 
he  decorated  the  Palazzo  del  T^,  with  its  grotesque  Titans. 
Primaticcio  and  Niccolo  dell*  Abbate,  pupils  again  of  Giulio's, 
were  educated  at  Mantua,  and  afterwards  summoned  by  Fran- 
cois I"  to  France,  where  they  became  the  founders  of  the 
School  ol  Fontalnebleau.  They  thus  passed  on  the  Raphael- 
esque  traditions  into  the  French  capital.  It  is  partly  for  this 
reason  that  I  have  selected  for  my  first  examples  this  particular 
Mantuan  group  of  paintings,  in  order  that  you  may  realise  the 
close  interaction  of  French  and  Italian  politics,  and  the  con- 
tinuity  of  the  Italian  with  the  French  Renaissance. 

It  is  worth  while,  too,  to  enquire  how  the  different  pictures 
came  Into  this  collection.  The  Madonna  della  Vittoria,  we 
saw,  was  brought  as  a  trophy  of  war  from  Italy  by  Napoleon. 
The  Giulio  Romano,  after  hanging  for  some  time  in  the  chapel 
at  Mantua,  for  which  it  was  painted,  was  shortly  annexed  by  the 
Duke  of  Mantua,  who  sold  it  to  Charles  I  of  England.  That  king 
formed  a  noble  collection  of  Italian  and  Flemish  works,  which, 
after  his  execution,  was  sold  by  the  Commonwealth  for  a  very 
small  price  to  a  dealer  named  Jabach,  who  in  his  turn  disposed 
of  most  of  the  pictures  to  Louis  XIV  ;  they  formed  the  nucleus 
oi  the  Louvre  collection.  Look  out  for  these  works  of  which 
Puritan  England  thus  deprived  herself,  and  see  how  considerable 
a  portion  they  form  of  the  earlier  treasures  of  this  Gallery. 

Lastly,  return  once  more  to  the  Mantegnas  in  the  Salle  dcs 
Primitifs,  and  notice  that  the  so-called  Parnassus— that  is  to  say, 
the  Mars  and  Venus  discovered  by  Vulcan— as  well  as  the  Vices 
conquered  by  Wisdom,  and  the  companion  pieces  by  Perugino 
and  Costa,  were  all  painted  for  Isabella  d'Este-Qonxaga,  to 
decorate  her  boudoir  at  Mantua.  Of  these  works,  I  think  Man- 
tegna's  are  the  oldest,  and  struck  the  keynote  for  figures  and 
treatment.  For  after  Mantegna's  death,  the  Ferrarese  painter, 
Costa,  was  invited  from  Isabella's  home  to  become  court-painter 
at  Mantua :  and  the  Perugino  is  one  in  that  master's  latest 
manner,  most  tinged  with  the  Renaissance.  Giulio  Romano, 
again,  succeeded  Costa.  If  you  will  now  compare  Mantegna's 
two  works  in  this  series  with  b's  others  in  this  Gallery,  you  will 
be  able  to  form  a  clearer  conception  of  his  admirable  fancy,  his 


•c»»KMcasaBaF 


124 


PARIS 


[111. 


unvarying  grace,  and  his  perfect  mastery  of  execution  :  while  if 
you  contrast  them  with  those  by  the  two  contemporary  artists— 
the  Umbrian  Perugino  and  the  Ferrarese  Costa — you  will  be 
enabled  to  observe  what  was  the  common  note  of  these  early 
Renaissance  masters,  and  what  their  distinctive  individual  char- 
acteristics. In  particular,  you  may  notice  in  these  works,  when 
looked  at  side  by  side  with  those  of  earlier  painters,  the  enormous 
.advance  Mantegna  had  made  in  .inatomy  and  in  perspective. 
He  is  the  iclentific  painter  of  Upper  Italy,  as  Lionardo  is  the 
scientific  painter  of  Florence. 

These  four  pictures  again  made  their  way  to  the  Louvre  by  a 
different  route.  They  were  captured  at  the  sack  of  Mantua  in 
1630,  and  originally  came  to  France  to  decorate  the  chdttau  of 
Cardinal  Richelieu. 

Once  more,  Duke  Alfonso  d'Este.  Isabella's  brother,  is  the 
person  whom  you  see  in  the  portrait  by  Titian  in  the  Salon  Carr^, 
together  with  his  mistress  Laura  Dianti,  painted  about  1520. 
Familiarity  with  such  facts  alone  can  give  you  any  adequate 
idea  of  the  extraordinary  rapidity  in  the  development  of  art  and 
the  modernization  of  Italy  in  the  i6th  century. 


For  my  next  example  I  will  take  a  quite  obscure  and  unnoticed 
picture,  also  in  the  Salle  des  Primitifs,  Qiovan.%i  masMne't 
alter-plece  in  three  compartments,  number  261. 

Savona  is  an  unimportant  little  town  between  Nice  and  Genoa, 
chiefly  noteworthy  at  the  present  day  as  the  junction  for  a  branch 
line  to  Turin.  But  in  the  15th  and  i6th  centuries  it  was  a  flour- 
ishing place,  which  gave  employment  to  many  distinguished 
Piedmontese  and  Lombard  artists,  the  most  famous  of  whom 
were  Foppa  and  Brea.  It  also  gave  birth  to  two  famous  popes, 
Sixtus  IV  and  Julius  1 1,  the  latter  of  whom  is  familiar  to  most 
of  us  from  the  magnificent  portrait  by  Raphael,  three  replicas 
of  which  exist,  in  the  Uffizi  and  the  Pitti  Palace  in  Florence, 
and  in  the  National  Gallery  in  London.  Sixtus  IV  erected  for 
himself  a  superb  sepulchral  chapel  in  his  native  town  of  Savona : 
go  and  see  it,  if  you  pass  by  there,  as  well  as  the  modem  statue 
of  the  pope  erected  by  his  fellow-citizens.  From  that  chapel 
this  picture,  by  an  otherwise  unknown  artist,  has  been  abstracted 
and  brought  here.   We  know  its  author  merely  by  the  signature 


. ..  I  ■* 


[III. 

ecution :  while  if 
nporary  artists— 
sta — you  will  be 
te  of  these  early 
!  individual  char- 
lese  works,  when 
Ers,  the  enormous 
d  in  perspective. 
s  Lionardo  is  the 

I  the  Louvre  by  a 
ick  of  Mantua  in 
ite  the  chdttau  of 

I's  brother,  is  the 
1  the  Salon  Carr^, 
nted  about  1520. 
ou  any  adequate 
tpment  of  art  and 


ire  and  unnoticed 
•nisi  mUNne's 

>i. 

Nice  and  Genoa, 
ction  for  a  branch 
ries  it  was  a  flour- 
iny  distinguished 
famous  of  whom 
vo  famous  popes, 
3  familiar  to  most 
lel,  three  replicas 
lace  in  Florence, 
us  IV  erected  for 

town  of  Savona : 
he  modem  statue 
From  that  chapel 
is  been  abstracted 
'  by  the  signature 


in,]      RENAISSANCE   PARIS  (THE  LOUVRE)     125 

he  has  placed  on  a  carttlltKO  or  strip  of  paper  in  the  picture 
itself  :  Joh[ann]es  Mazonus  de  Alex[andri]a  pinxit— shewing 
that  he  was  born  in  the  Piedmontese  town  of  Alessandria. 
For  the  rest,  he  is  a  mere  name  to  us. 

The  picture  Itself,  by  no  means  a  masterpiece,  has  in  its 
centre  the  Nativity,  designed  in  the  usual  conventional  fashion, 
and  in  a  somewhat  antiquated  Lombard  style.    The  Madonna 
and  St.  Joseph  have  very  solid  haloes  :  the  action  takes  place 
in  a  ruined  temple,  as  often,  symbolising  the  triumph  of  Chris- 
tianity over  heathendom.     In  the  background  are  a  landscape, 
and  some  pleasing  accessories.    But  the  lateral  subjects  give 
it  greater  interest.     In  the  compartment  to  the  L  stands  St. 
Francis  of  Assisi,  in  his  usual  brown  Franciscan  robe,  as  pro- 
lector  of  Sixtus  IV,  who  kneels  beside  him.     Notice  this  way 
of  marking  the  name  of  a  donor,  for  the  pope  was  Cardinal 
Francesco  della  Rovere.      Observe  too  the  stigmata,  as  far 
as  visible,  and  compare  this  much  later  figure  of  St.  Francis 
with  those  in  the  picture  by  Giotto  and  its  two  imitators. 
On  the  R  stands  a  second  Franciscan  saint,  also  in  the  coarse 
brown  garb  of  his  order— the  same  in  whose  church  Andrea 
Mantegna  studied  Donatello,  and  whom  we  have  seen  more 
than  once  during  our  Parisian  excursions  holding  in  his  arms 
the  infant  Christ— St.  Antony  of  Padua.     He  lays  his  hand 
on  the  shoulder  of  a  second  votary— the  Cardinal  della  Rovere, 
afterwards  the  stem  and  formidable  pope,  Julius  II.    If  you 
know  the  National  Gallery  and  the  Vatican,  see  whether  you 
can  recognise  an  eariier  stage  of  the  same  features  which  occur 
in  the  famous  portrait,  and  also  in  the  figure  of  the  pope, 
borne  on  the  shoulders  of  his  stalwart  attendants  into  the 
temp.c  at  Jeni-alem,  in  a  corner  of  the  famous  fresco  of  the 
Expulsion  u(  Heliodorus. 

RecolleC  again,  that  it  was  for  the  tomb  of  this  same  Pope 
Julius  II  tliiat  Michael  Angelo  produced  the  two  so-called 
Fettered  Slives,  which  you  have  seen  or  will  see  in  the 
Renaissance  Sculpture  Room  of  this  collection.  Weave  your 
knowledge  together  in  this  way,  till  it  forms  a  connected  whole, 
which  enables  you  far  better  to  understand  and  appreciate. 

I  call  your  special  attention  to  this  picture,  among  other 
things,  for  its  historical  rather  than  its  artistic  value.    But  I 


li 


"W 


126 


PARIS 


ii  ; 


m 


[ill. 


want  you  also  to  realise  that  the  man  who  was  painted  in  this 
rude  and  antiquated  style  in  his  middle  age  was  painted  again 
in  his  declining  years  by  Raphael  at  the  summit  of  his  powers, 
and  was  a  patron  of  the  mighty  Michael  Angelo  at  the  zenith 
of  his  development.  This  will  help  to  impress  upon  you  better 
than  anything  else  the  necessity  for  carefully  noting  chro« 
nology,  and  will  also  supply  a  needed  caution  that  you  must 
not  regard  any  work  as  necessarily  early  on  no  better  ground 
than  because  it  is  comparatively  archaic  in  style  and  treatment. 


Next  inspect  the  two  little  companion  pictures  of  St.  Qeorg* 
and  5t.  Michael  by  Raphael,  on  the  r  wall  of  the  First 
Compartment  in  the  Long  Gallery.  These  two  small  works  are 
rare  examples  of  Raphael's  very  earliest  pre-I'eruginesque 
manner.  Morelli  has  shewn  that  the  great  painter  was  first  of 
all  a  pupil  of  Timoteo  Viti  at  Urbino,  his  native  town.  If  you 
have  not  visited  Bologna  and  Milan,  however,  this  will  tell  you 
little  ;  for  nowhere  else  can  you  see  Timoteo  to  any  great 
advantage  ;  and  I  may  observe  here  that  the  best  time  to  visit 
the  Louvre  is  a/h'r  you  have  been  in  Italy,  where  you  ought  to 
have  formed  a  clear  conception  of  the  various  masters  and 
their  relations  to  one  another.  But  you  can  see  at  least,  on  the 
face  of  them,  that  these  two  simple  and  graceful  little  works 
are  quite  different  in  style  and  manner  even  from  the  JBel/e 
Jardiniere,  and  certainly  very  unlike  the  much  later  St.  Mar- 
garet which  hangs  close  by  them.  They  are  still  comparatively 
mediaeval  in  tone  :  they  have  a  definiteness  and  clearness  of 
outline  which  contrasts  strongly  with  the  softer  melting  tones 
of  Raphael's  later  work  :  they  show  as  yet  no  tinge  of  the 
alTected  prettinesses  which  he  learned  from  Perugino — still  les: 
of  his  later  Florentine  and  Roman  manners.  They  are  painted 
on  the  back  of  a  chess  or  draught  board,  and  were  produced 
for  Duke  Guidobaldo  of  Urbino  about  the  year  1 500. 

Look  first  at  the  St.  George.  The  subject  here  is  the 
Combat  with  the  Dragon  ;  and  Raphael,  in  representing  it, 
has  strictly  followed  the  conventional  arrangement  of  earlier 
painters.  No  earlier  picture  for  comparison  with  his  treatment 
exists  in  this  Gallery,  though  there  are  plenty  elsewhere  :  but 
if  you  will  look  downstairs  at  the  majolica  relief  of  the  same 


(III. 

painted  in  this 
i  painted  again 

of  his  powers, 
o  at  the  zenith 
ipon  you  better 
'  noting  chro> 

that  you  must 
>  better  ground 
:  and  treatment. 

s  of  «t.  Qeorg* 

ill  of  the  First 
small  works  are 
e-Peruginesque 
nter  was  first  of 
e  town.  If  you 
his  will  tell  you 

0  to  any  great 
est  time  to  visit 
re  you  ought  to 
js  masters  and 
!  at  least,  on  the 
;ful  little  works 

from  the  Belle 

1  later  St.  Mar- 
II  comparatively 
.nd  clearness  of 
r  melting  tones 
10  tinge  of  the 
ugino — still  les; 
'hey  are  painted 
I  were  produced 
-  1500. 

set  here  is  the 
representing  it, 
ment  of  earlier 
th  his  tre<itment 
elsewhere  :  but 
lief  of  the  same 


III]      HESMSSASCE  PARIS  {THE  LOUVRE)      I27 

subject  in  the  Delia  Kobl)ia  Koom  of  the  Renaissance  Sculpture 
Gallery,  you  will  see  how  closely  Raphael's  work  corresponds 
with  earlier  representations  of  the  same  pretty  myth.  As  you 
will  now  have  learned,  there  is  always  a  regular  way  to  en- 
visage every  stock  subject :  whoever  produced  a  Combat  of  St. 
George  with  the  Dragon  was  compelled  by  custom  and  the 
expectations  of  his  patron  to  include  these  various  elements — 
a  St.  George  in  armour,  on  horseback,  the  horse  usually  white, 
as  here  ;  a  wounded  dragon,  most  often  to  the  right  :  the  Prin- 
cess running  away  in  terror  in  the  distance,  or  at  least  crouch- 
ing abjectly.  There  is  a  Tintoretto  of  this  subject,  indeed,  in 
the  National  Gallery,  where  some  critics  have  blamed  the  great 
Venetian  painter  for  making  the  Princess  look  away  in  terror, 
instead  of  turning  with  gratitude  to  thank  her  brave  preserver. 
But  the  conventional  representation  demanded  that  the  Princess 
should  flee  or  cower :  people  were  accustomed  to  that  treat- 
ment of  the  theme,  and  expected  always  to  see  it  repeated. 
It  was  their  notion  of  a  St.  George.  We  must  set  down  a 
great  deal  in  early  art  to  this  sense  of  expectation  on  the  part 
of  patrons.  Tintoretto,  who  came  much  later  than  Raphael, 
after  the  mighty  Renaissance  painters  had  accustomed  the 
world  to  put  up  with,  or  even  to  look  for,  novelty  of  composi- 
tion, often  ventured  very  largely  to  depart  from  traditional 
motives.  In  his  picture,  therefore,  the  Princess  occupies  the 
foreground— a  most  revolutionary  proceeding— while  the  action 
itself  is  relegated  somewhat  to  the  middle  distance.  But  if 
you  compare  the  three  representations  of  this  scene  to  be  found 
in  the  Louvre— this  picture  and  the  two  reliefs  by  Delia  Robbia 
and  Michel  Colombe  respectively— you  will  see  that  the  Prin- 
cess in  earlier  times  is  always  represented  quite  small  in  the 
distance,  and  is  usually  running  away,  or  at  best  kneeling  with 
clasped  hands  in  abject  terror. 

In  the  Raphael,  the  dragon  is  already  wounded  :  but  he  has 
broken  the  saint's  lance,  with  part  of  which  he  is  transfixed, 
while  the  remainder  lies  in  fragments  on  the  ground  behind 
him.  St.  George  on  his  prancing  steed  is  drawing  his  sword 
to  finish  off  the  monster.  In  the  Michel  Colombe,  on  the  other 
hand  (downstairs  in  the  French  Renaissance  Sculpture),  the 
dragon  is  biting  at  the  lance,  which  explains  why  it  is  broken 


136 


PA  HIS 


(ill. 


here,  and  also  why  ihe  St.  GeorKC  in  Manlegna'i  Madonna 
holds  a  broken  shaft  as  his  emblem  oi  ymbol.  Observe,  how- 
ever, that  while  the  French  sculptor,  with  questionable  taste, 
makes  the  dragon  occupy  the  larger  part  of  the  field,  m>  ai 
somewhat  to  dwarf  St.  George  and  his  steed,  the  Italian 
sculptor,  and  still  more  the  Italian  painter,  have  shewn  greater 
tact  in  treating  the  dragon  as  a  comparative  accessory,  and 
concentrating  attention  upon  the  militant  saint,  combating  with 
spiritual  arms  the  evil  demon.  In  this  picture,  as  Mrs.  Jame- 
son well  observes,  the  conception  is  on  the  whole  serenely 
allegorical  and  religious  in  spirit.  But  Raphael  himself  painted 
a  second  St.  George,  at  a  later  date,  for  the  Duke  of  Urbino 
to  present  to  Henry  VII  of  England.  In  this  other  picture, 
which  is  now  in  the  Hermitage  at  St.  Petersburg,  St.  George  is 
treated  rather  as  the  patron  saint  of  England  than  as  the 
Champion  of  Right— to  mark  which  fact  he  wears  the  Order  ot 
the  Garter  round  his  knee,  with  its  familiar  motto.  As  Cham- 
pion of  England,  he  is  rushing  on  the  monster  with  fiery 
energy  :  the  picture  is  in  this  case  more  military  than  spiritual. 
The  moment  chosen  is  the  one  where  he  is  just  transfixing  the 
dragon  with  his  lance  :  the  rescued  Princess  is  here  again  in 
the  background. 

Note  once  more  that  these  various  works  are  pictures  of  the 
combat  of  St.  George  with  the  Dragon.  In  devotional 
pictures  of  the  Madonna,  St.  George  frequently  stands  by 
Our  Lady's  side,  in  accordance  with  the  wishes  of  the  parti- 
cular donor,  as  patron  saint  of  that  person  himself,  or  of  his 
town  or  family.  In  Venetian  pictures,  as  we  have  seen,  he  is 
very  frequent,  being  one  of  the  patron  saints  of  Venice,  and 
more  particularly  of  the  Venetian  army  and  the  conquered 
territory.  You  will  find  it  interesting,  after  you  have  finished 
the  examination  of  the  two  Raphaels,  to  go  round  the  devo- 
tional Italian  pictures  in  the  Salle  des  Primitifs,  the  Long 
Gallery,  and  the  Salon  Carrrf,  in  order  to  note  his  various 
appearances.  He  is  usually  marked  by  his  lance  and  his 
armour :  the  absence  of  wings  (a  point  not  always  noticed  by 
beginners)  will  enable  you  at  once  to  discriminate  him  from 
yt.  Michael— as  man  from  angel.  The  more  you  learn  to  look 
out  for  such  recurrences  of  saints,  and  to  account  for  the 


[m. 

(na'i  Madonna 
Observe,  how- 
stionable  tasle, 
the  field,  u>  at 
ed,  the  Italian 
e  shewn  greater 
accessory,  and 
combating  with 
,  as  Mrs.  Jame- 
whole  serenely 
himself  painted 
)uke  of  Urbino 
s  other  picture, 
•g,  St.  George  i» 
id  than  as  the 
ars  the  Order  ot 
•tto.  As  Cham- 
nster  with  fiery 
y  than  spiritual. 
:  transfixing  the 
s  here  again  in 

!  pictures  of  the 
In  devotional 

ently  stands  by 
les  of  the  parti- 
limself,  or  of  his 
have  seen,  he  is 
of  Venice,  and 
1  the  conquered 
}U  have  finished 
round  the  devo- 
nitifs,  the  Long 
lote  his  various 
I  lance  and  his 
ways  noticed  by 
ninate  him  from 
^ou  learn  to  look 
account  for  the 


III.)      REXAFSSANCE  PARfriTHE  LOUVRE)     139 

reasons  for  their  appearance,  the  more  will  you  understand  and 
enjoy  picture  galleries,  !ind  the  more  will  you  throw  yourself 
into  the  devotional  medixval  atmosphere  which  produced  such 
pictures. 

Now  turn  to  the  second  little  Raphael.  This  represents  th« 
closely  cognate  subject  of  5t.  Mlchaol  and  tha  Dragon— the 
angelic  as  opposed  to  the  human  counterpart.  The  two  ideas 
are  at  bottom  identical— the  power  of  good  overcoming  evil ; 
the  true  faith  combating  heathendom.  It  is  a  world-wide  myth, 
occurring  in  many  forms— as  Horus  and  Typhon,  as  Perseus, 
as  Bellerophon.  Hence  Michael  .ind  (George,  the  superhuman 
and  the  human  soldier  of  right,  often  balance  one  another,  as 
in  these  two  pictures  :  you  have  seen  them  doing  so  already  in 
the  Madonna  della  Vittoria  :  look  out  for  them  elsewhere  in  this 
conjunction.  Uoth  are  knights ;  both  are  in  armour ;  but  one  is 
a  man  and  the  other  an  angel.  In  this  second  little  picture,  St. 
Michael  is  seen,  clad  in  his  usual  gorgeous  mail,  treading  on 
the  neck  of  the  dragon  and  menacing  it  with  his  sword.  The 
dark  and  lurid  landscape  in  the  background  contains  nuuny 
fearful  forms  of  uncertain  monsters :  condemned  souls  are 
plagued  in  it  by  demons,  while  a  flaming  town  flares  murkily 
towards  heaven  in  the  far  distance,  the  details  being  taken,  as 
in  many  such  works,  from  Dante's  Inferno.  Or  rather,  they  and 
the  Inferno  represent  the  same  old  traditional  view  of  Hades. 
(The  figures  weighed  down  with  leaden  cowls  are  the  hypo- 
crites, while  the  thieves  are  tormented  by  a  plague  of  serpents.) 
Close  comparison  of  these  two  tittle  works  will  give  you  a 
good  idea  of  Raphael's  earliest  Urbino  manner.  This  fantastic 
picture,  however,  though  full  of  imagination,  is  by  no  means  so 
pleasing  as  the  dainty  St.  George  beside  it. 

Go  straight  from  this  combat  to  the  Great  St.  Mkhael,  also 
by  Raphael,  in  the  Salon  Carrtf.  It  bears  date  1518.  Pope 
Leo  X  commissioned  Raphael  to  paint  this  picture  as  a 
present  for  Franqois  I"  :  the  painter — to  whom  he  left  the  choice 
of  subject— chose  St.  Michael,  the  military  patron  of  France, 
and  of  the  Order  of  which  the  king  was  Grand  Master.  (You 
will  find  a  bronze  bust  of  Francois,  wearing  the  collar  and 
pendant  of  St.  Michael,  in  the  Renaissance  Sculpture.)  He 
chose  it  also,  no  doubt,  because  it  enabled  him  to  show  his 

I 


130 


PARTS 


[III. 


fiUratlon  at  the  Vatican.)    The  warnor  archangel  has  just 
JwoopTd  down  through  the  air,  and.  hovering  on  po-d  w.ngs 
s  clufiht  in  the  very  act  of  setting  one  foot  hghtly  on  the 
demonl  sioulder.    The  dragon,  writhing,  tries  in  vam  to  hft 
Sis  head  and  turn  on  his  conqueror.    The  noble  serenity  of  the 
a  ciangeJs  face,  the  perfect  grace  of  his  form  and  attuude  the 
brilS  panoply  of  his  celestial  armour,  the  sheen  of  h.s 
"the TgTtLsses  of  his  hair  floating  outward  behind  h.m 
Tas  of  one  who  has  traversed  space  on  wings  of  hghtnmg)  cannot 
:,  to  be  remarked  by  every  spectator.    This  is  Raphae.n 
he  fulness  of  his  knowledge  and  power,  yet  far  !«"  '"^"«^'  "« 
o  the  lover  of  sacred  art  than  the  boy  Raphael  of  Urbmo,  the 
dreamXhael  of  the  Sposalizio  at  Milan,  the  tender  Raphae 
o   th^Gran  Duca  at  Florence,  or  of  the  Belle  Jardm.^re  m  th  s 
same  apartment.    Notice  that  with  the  progress  of  Rer>a.ssance 
eeTngThe  demon  is  now  no  longer  a  dragon  but  a  half-human 
figure!  with  horns  and  serpent  tail,  and  swarthy  «d  m  cojo- 
He  is  so  foreshortened  as  not  to  take  up  any  large  space  m  the 
"mposUion,  which  is  mainly  filled  by  the  v.ctonous  figure  of 
the  triumphant  archangel.     The  more  classical  ^^^^nrhe- 
speaks  the  High  Renaissance.    The  longer  you  conipare  the  e 
ro  extreme  phases  of  Raphael's  art,  the  more  w.ll  you  note 
poLs  of  advance  between  them-technical  advance,  counter- 
balanced by  moral  and  spiritual  retrogression. 

Sby  comparing  this  St.  Michael  with  Mantegna's,  and 
wifh  the  playful  Lionardesque  archangel  in  the  Vrerge  aux 
tlnces,  the  last  point  in  the  degeneracy  of  a  celestial  concep- 

''°Raphael  is  one  of  the  painters  who  can  best  be  studied  at  the 
W?e,  wi*  comparariv^mUej^edfo    aid  from  elsewhere. 

Pay  a  special  visit  to  the  Louvre  one  day  in  order  to  make  a 
defiled  Ldy  of  Madonn.5.  Before  doing  so  however,  read 
anr"gest  the  following  general  statement  of  prmciples  on  the 

subject 


[III. 

great  and  noble 
:ic  rapidity  ever 
tantaneous  effect 
oy  in  the  Trans- 
changel  has  just 
on  poised  wings, 
ot  lightly  on  the 
les  in  vain  to  lift 
)le  serenity  of  the 
»  and  attitude,  the 
the  sheen  of  his 
tward  behind  him 
f  lightning)  cannot 
his  is  Raphael  in 
far  less  interesting 
ael  of  Urbino,  the 
he  tender  Raphael 
;  Jardiniere  in  this 
ess  of  Renaissance 
n  but  a  half-human 
irthy  red  in  colour. 

large  space  in  the 
victorious  figure  of 
issical  armour  be- 
you  compare  these 
nore  will  you  note 

advance,  counter- 

n. 

;h  Mantegna's,  and 
in  the  Visrge  aux 
i  a  celestial  concep- 

est  be  studied  at  the 
aid  from  elsewhere. 

^  in  order  to  make  a 

ng  so,  however,  read 

of  principles  on  the 


III.]      RENAISSANCE  PARTS   {THE  LOUVRE)      13I 

[People  who  have  not  thrown  themselves,  or  thought  them- 
selves, or  read  themselves  into  the  mental  attitude  of  early  art, 
often  complain  that  Italian  picture  galleries,  and  museums  like 
Cluny,  are  too  full  of  merely  sacred  subjects.  But  when  once 
you  have  learnt  to  understand  and  appreciate  them,  to  know 
the  meaning  which  lurks  in  every  part,  you  will  no  longer  make 
this  causeless  complaint.  As  well  object  to  Greek  art  that  it 
represents  little  save  the  personages  of  Greek  mythology.  As  a 
matter  of  fact,  though  the  Louvre  contains  a  fair  number  ot 
Madonnas,  it  does  not  embrace  a  sufficient  number  to  give  a 
perfectly  clear  conception  of  the  varieties  of  type  and  the 
development  of  the  subject— not  so  good  a  series  m  many 
respects  as  the  National  Gallery,  though  it  is  particularly  well 
adapted  for  the  study  of  certain  special  groups,  particularly  the 
Lionardesque-  Lombard  development. 

The  simplest  type  of  Madonna  is  that  where  Our  Lady 
appears  alone  with  the  Divine  Infant.  This  modification  of 
the  subject  most  often  occurs  as  a  half  length,  though  sometimes 
the  Blessed  Virgin  is  so  represented  in  full  length,  enthroned,  or 
under  a  canopy.  Several  such  simple  Madonnas  occur  in  the 
Gallery.  In  the  earliest  examples  here,  however,  such  as 
Cimabue's,  and  the  cognate  altar-piece  of  the  School  of  Giotto, 
the  Madonna  is  seen  surrounded  by  angelic  supporters.  This 
forms  a  second  group-Our  Lady  with  Angels,  '^ery  early 
examples  of  this  treatment  show  the  angels  in  complete  isola- 
tion, as  a  sort  of  framework.  (See  several  parallels  in  sculpture 
in  Room  VI,  ground  floor,  at  Cluny.)  Grouping  as  yet  is  non- 
existent. No  specimen  of  this  very  original  type  is  to  be  found 
in  the  Louvre  ;  but  in  the  Cimabue  of  this  Gallery  the  angels 
are  superimposed,  so  to  speak,  while  in  the  Giottesque  example 
close  by  an  elementary  attempt  is  made  at  grouping  them.  In 
later  works,  the  angels  are  more  and  more  naturally  represented, 
from  age  to  age,  singly  or  in  pairs,  or  else  grouped  irregularly 
on  either  side  of  Our  Lady.  You  will  note  for  yourself  that  as 
the  Renaissance  developes,  the  nature  of  the  grouping,  both  of 
angels  and  saints,  deviates  more  and  more  from  the  early  strict 
architectural  symmetry. 

A  slight  variant  on  the  simple  pictures  of  the  Madonna  and 
Child  arc  those,  of  Ilorentine  origin,  in  which  the  Infant  St. 


mm 


133 


PARIS 


liu. 


John  Baptlrt.  the  patron  Saint  of  the  City  of  Florence,  is 
intVra^ed  at  play  with  the  childish  Saviour.     Th.s  class- 
he  M.do«ol  «d  Child.  ^Ith  St.John-is  well  represented 
In    2Tneli.  Jardiniire,  and    several   other  p.ctures  m  the 

^°MoTt  often,  however,  the  Madonna  is  seen  enthroned,  in  the 
centre  of  the  altar-piece  or  composition,  and  surrounded  by  onr 
two  or  three  pairs  of  saintly  personages.    The  Madonna  wltn 
^°;u  thus  fSms  a  separate  group  of  subjects.    These  samts. 
^u  will  by  this  time  have  gathered,  are  never  "b-tranly  mtro^ 
duced    They  were  selected  and  commissioned,  as  a  rule,  by  the 
purchaser,  and  they  are  there  for  a  good  and  sufficient  reason^ 
Often  the  donor  desired  to  pay  his  devotioii  mth.s  fashion  to 
his  own  personal  patron  ;  often  to  the  pat-on  c,^      ■   town  or 
village,  of  the  church  in  which  the  picture  was  to  be  deposited, 
o    of  his  family  or  relations.    Frequently,  ag-n    the  p^ture 
was  a  votive  offering,  as  against  plague  or  other  dreaded 
^Uty  .  in  which  case  it  is  apt  to  contain  figures  of  the  great 
^a^  saints.  Roch  and  Sebastian.      Ignorant  people  often 
nhiect  that  such  sets  of  saints  are  not  contemporary.    They 
forge  that  this  is  the  Enthroned  Madonna,  and  that  the  action 
tXs  pLe  in  the  Celestial  City,  where  the  saints  surround 

''tZ:!^^^^,  in  the  earlier  altar-pieces  the  selected 
sain  swe«  tr^ed  in  complete  isolation.     Most  often  the 
Madonna  and  Child  occupy  in  such  cases  a  central  panel. 
Tnder  its  own  canopy  ;  while  the  saints  are  each  enclosed  .n  a 
Z^ate  little  alcove  or  gilded  tabernacle.    Reminiscences  of 
AUusage  linger  long  in  Italy.     Later  on.  as  art  progre' .  .^, 
inters  begaJ  to  feel  the  stiffness  of  such  an  arrange.. en 
C  placed  the  attendant  saints  at  first  in  regularly  d.sp  ■=. 
pai«  on  either  side  the  throne,  and  afterwards  m  someth:  . 
^pp^o^ching  a  set  compo.ltlo«.    With  the  High  Renajssance 
the  various  figures,  instead  of  occupymg  mere  posts  round  the 
seat  of  Our  Lady,  and  gazing  at  her  m  adoration,  began  to  in- 
dulge in  conversation  with  one  another,  or  to  take  part  in  some 
more  or  less  animated  and  natural  action.     This  me  hod  of 
arrangement,  which  culminates  for  the  Florentine  school  m  Fra 
BanoLme;  degenerates  with  the  Decadence  mto  confused 


[III. 


Ill]      RENAISSANCE   PARIS  {THE  LOUVRE)      I33 


of  Florence,   is 

This  class — 

(veil  represented 

pictures  in  the 

nthroned,  in  the 

rrounded  by  one, 

Madonna  with 

s.    These  saints, 
arbitrarily  intro- 
as  a  rule,  by  the 
sufficient  reason, 
ntliis  fashion  to 
n  r.t  ...-  town  or 
s  to  be  deposited, 
gain,  the  picture 
)r  other  dreaded 
gures  of  the  great 
ant  people  often 
;emporary.    They 
nd  that  the  action 
B  saints  surround 

pieces  the  selected 

Most  often  the 

I  a  central  panel, 

each  enclosed  in  a 

Reminiscences  of 
as  art  progre'-i'fJ, 

an  arrangement  •• 
regularly  disp'^sc- 
ards  in  somethio^ 
High  Renaissance, 
re  posts  round  the 
ration,  began  to  in- 
0  take  part  in  some 
This  method  of 
ntine  school  in  Fra 
ence  into  confused 


and  muddled  groups,  with  scarcely  a  trace  of  symbols— groups 
of  well-draped  models,  in  which  it  is  impossible  to  see  any  sacred 
significance.  The  Florentine  painters  preferred,  as  a  rule, 
such  rather  complex  grouping :  the  Venetians,  influenced  in 
great  part  by  the  severer  taste  of  Giorgione  and  of  Titian, 
usually  show  a  more  simple  arrangement. 

Any  one  of  these  various  types  of  Madonna  may  also  be 
modified  by  the  introduction  of  a  Icneeling:  donor.  Thus, 
Van  Eyck's  glowing  picture  of  the  Chancellor  RoUin  adoring 
Our  Lady  is  an  example  of  the  simple  Madonna  and  Child, 
enthroned,  accompanied  by  the  donor;  though  in  this  case, 
the  composition  is  further  slightly  enriched  by  the  dainty  little 
rioaiing  angel  in  the  background,  who  places  an  exquisitely 
jewelled  crown  of  the  finest  Flemish  workmanship  on  the  head 
of  the  Virgin.  The  Madonna  della  Vittoria,  again,  which  we 
have  so  fully  considered,  is  essentially  a  Madonna  and  Saints, 
with  the  kneeling  donor.  In  very  early  pictures,  you  will 
observe  that  the  donors  are  often  painted  grotesquely  small, 
while  Our  Lady  and  the  Saints  are  of  relatively  superhuman 
stature,  to  mark  their  superiority  as  heavenly  personages.  In 
later  works,  this  absurdity  dies  out,  and  the  figure  and  face  ot 
the  donor  become  one  of  the  recognised  excuses  for  early 
portrait  painting.  Indeed,  portraiture  took  its  rise  for  the 
modern  world  from  such  kneeling  figures. 

Another  point  of  view  from  which  it  is  interesting  to  compare 
these  various  Madonnas  is  that  of  the  Nationality  or  Scliool 
of  Art  to  which  they  belong.  The  early  Italian  representa- 
tions of  Our  Lady  are  usually  more  or  less  girlish  in  appear- 
ance, refined  in  features,  and  comparatively  simple  in  dress 
and  decoration.  The  Flemish  type  is  peculiarly  insipid,  one 
might  often  say,  even  with  great  artists,  inane  and  meaningless ; 
in  the  hands  of  minor  painters,  it  becomes  positively  wooden. 
The  face  here  is  long  and  rather  thin ;  the  features  peaky. 
The  Madonna  of  Flemish  art,  indeed,  like  the  Christ  ot  all 
art,  is  a  sacred  type  which  is  seldom  varied.  Early  French 
Madonnas,  once  more,  are  r^rgal  and  ladylike,  sometimes  even 
courtly.  They  wear  crowns  as  queens,  and  are  better  observed 
in  the  Louvre  in  sculpture  than  in  painting.  This  Gallery  hardly 
suffices  to  note  in  full  the  peculiarities  of  the  stib-types  in 


I  li''"' 


134 


PARIS 


[111. 


various  lUlian  schools;  but  they  may  still  be  recogn.sed  Of 
these,  the  Florentine  are  spiritual, delicate  and  strongly  .deal, 
the  l^mbard.  intellectual,  like  well-read  ladies  ;  the  Venet  »n. 
stately  and  matronly  oligarchical  mothers,  degenerating  later 
into  the  mere  aristocratic  nobility,  soulless  and  matenahsed,  of 
Titian  and  his  followers.  The  Umbrians  and  Slenese  are 
distinguished  for  the  most  part  by  their  pure  and  saintly  air 

of  fervent  piety.  .  „  j 

Do  not  confound  with  any  of  these  devotional  Madonnas, 
with  or  without  select  groups  of  saints,  various  other  classes 
of  picture  which  somewhat  resemble  them.    Each  of  these  has 
in  eariy  art  its  own  proper  convention  and  treatment :  it  was  a 
recognised  species.    A  Holy  Family,  for  example,  consists,  as 
a  rule,  of  a  Madonna,  the  Infant  Christ,  St.  Joseph,  St.  Eliza- 
beth, and  the  child  Baptist.     Like  the  other  subjects,  it  is 
sometimes  complicated  by  the  addition  of  selected  Samts  as 
spectators  or  assessors.    A  Coronation  of  the  Virgin,  again, 
is  an  entirely  celestial  scene,  taking  place  in  the  calm  of  the 
heavenly  regions.     The  Madonna  is  usually  crowned  by  her 
Son.  but   sometimes  by  angels  or  by  the   Eternal  Father. 
(Several  interesting  examples  of  this,  for  comparison,  occur  in 
Room  VI,   ground  floor,  at  Cluny.)     Nativities,  of  course, 
belone  rather  to  the  group  of  pictorial  histories,  such  as  the 
Life  of  Christ,  or  the  Seven  Joys  of  Mary.    The  sculptures  in 
the  ambulatory  at  Notre-Dame  give  one  a  good  idea  of  such 

continuous  histories.  ,.^  .  . 

One  interesting  set  of  Madonnas,  largely  exemplified  here, 
to  take  a  particular  example,  is  the  later  Lombard  type  of  the 
School  of  Llonardo.      This  type,  well  distinguished  by  its 
reeular  oval  features,  its  gentle  smile  of  inner  happiness,  and 
its  peculiar  waving  hair  with  wisps  over  the  shoulders,  is 
usually  regarded  as  essentially  belonging  to  Lionardo  himself 
and  his  immediate  followers.    It  is  fo'eshadowed,  however,  by 
Foppa,  Borgognone,  and  other  eariy  Lombard  pamters,  speci- 
mens 0.'  whom  are  not  numerous  in  the  Louvre.      Lionardo 
when  he  came  to  Milan  to  Ludovico  Sforza,  adopted  tins  local 
type,  which  he  transfused  with  Florentine  grace  and  with  his 
own  peculiar  subdued  smile,  as  one  sees  it  already  in  the  Mona 
Lisa      From  Lionardo,  again,  it  was  taken,  with  more  or  less 


[HI. 

recognised.  Of 
i  strongly  ideal ; 
;  the  Venetian, 
generating  later 
materialised,  of 
,nd  Slenese  are 
I  and  saintly  air 

»nal  Madonnas, 

>us  other  classes 
lach  of  these  has 
atment :  it  was  a 
mple,  consists,  as 
Joseph,  St.  Elira- 
er  subjects,  it  is 
elected  Saints  as 
he  Vli«ln,  again, 
I  the  calm  of  the 
'  crowned  by  her 
Eternal  Father, 
nparison,  occur  in 
/Itles,  of  course, 
ories,  such  as  the 
The  sculptures  in 
good  idea  of  such 

exemplified  here, 
mbard  type  of  the 
jtinguished  by  its 
ler  happiness,  and 

the  shoulders,  is 
I  Lionardo  himself 
lowed,  however,  by 
ird  painters,  spcci- 
.ouvre.      Lionardo, 

adopted  this  local 
grace  and  with  his 
Iready  in  the  Mona 
,  with  more  or  less 


success,  by  his  immediate  pupils,  Beltraffio,  Solario,  Cesare  di 
Sesto,  and  others,  as  well  as  by  Luini,  who  was  not  a  pupil  of 
Lionardo  himself,  but  who  was  deeply  influenced  by  the  mas- 
ter's methods  and  his  works  in  Milan.  The  number  of  these 
Lionardesque  Madonnas  in  the  Louvre  is  exceptionally  great, 
while  Lionardo  himself  can  here  be  better  estimated  than  in 
Italy.  Nowhere  else  perhaps,  save  possibly  at  Milan,  can 
this  type  as  a  whole  be  compared  by  the  student  to  so  great 

advantage. 

While  the  Madonna  herself  usually  occupies  the  central 
panel  of  votive  pictures,  it  sometimes  happens  that   some 
other  saint  is,  on  his  own  altar-piece,  similarly  enthroned ; 
and  in  that  case  he  is  flanked  by  brother  saints,  often  more 
important  in  themselves,  but  then  and  there  subordinated  to 
him.    This  special  honour  under  special  circumstances  is  well 
seen  in  the  case  of  the  St.  Lawrence  at  the  far  end  of  the  Salle 
des  Primitifs.    Particular  local  saints  often  thus  receive  what 
might  otherwise  appear  undue  recognition.      For  the  same 
reason,  minor  saints  in  the  group  surrounding  a  Madonna  often 
obtain  local  brevet-rank  (if  !  may  be  allowed  the  simile)  over 
others  of  far  greater  general  dignity,  which  they  could  not  lay 
claim  to  in  any  other  connection.     Thus,  in  the  Nativity  by 
Giulio  Romano,  to  which  I  called  attention  in  connection  with 
Mantegna's  Madonna,  St.  Longinus  (with  his  crystal  vase)  stood 
on  Our  Lady's  R,  while  St.  John  was  relegated  to  her  L— a 
subordination  of  the  greater  to  the  lesser  saint  which  would 
only  be  possible  in  a  chapel  actually  dedicated  to  St.  Longinus, 
and  where  he  receives  peculiar  honour.     I  now  propose  to 
escort  you  round  a  few  rooms  of  the  Louvre,  again  calling 
attention  very  briefly,  from  this  point  of  view,  to  certain  special 
Madonna  features  only.] 

Now,  go  to  the  Louvre  and  test  these  remarks.  Begin  at 
the  far  end  of  the  Salle  des  Primitifs.  The  Cimabue  and  the 
Giottesque  of  the  Madonna  and  Angels  we  have  already  con- 
sidered. Compare  them  again  from  our  present  standpoint. 
Close  to  them  on  the  R,  beneath  the  large  Giotto  of  St. 
Francis,  are  two  pretty  little  Madonnas,  1620  (I  now  give  the 
large  upper  numbers  alone)  and  1667.     The  first   of  these 


M:- 


I 


f 

If 


.■<!  II  i« 


f 


136 


PARIS 


[IIL 


exhibits  below  two  tiny  votaries— the  small-sized  donors— a 
Franciscan  monk  and  a  Dominican  nun,  with  the  robes  of 
their  orders  ;  the  centre  consists  of  St.  Paul  and  St.  Catherine, 
at  the  attendant  saints  on  the  large  Enthroned  Virgin.  The 
second  has  the  choir  of  angels,  both  surrounding  and  *.  eneath 
the  throne,  with  St.  Peter  (keys),  St.  Paul  (sword),  St.  John 
Baptist  (camel-hair)  and  St.  Stephen  or  St.  Vincent  (robed  as 
deacon).  St.  Peter  and  St.  Paul  in  1625  are  similar  figures, 
once  surrounding  a  central  panel,  with  the  Madonna  now 
missing.  Compare  with  this  1666,  with  its  Enthroned  Madonna 
of  the  early  almond-eyed  type,  its  group  of  angels  round  the 
throne,  and  its  two  saints  at  the  base,  John  Baptist  and  Peter. 
Observe  that  the  types  of  these  also  can  be  recognised.  Each 
saint  has  regular  features  of  his  own,  which  you  can  learn  to 
know  quite  as  well  as  the  symbols. 

Higher  up,  1664,  another  Madonna  and  Child,  Enthroned, 
with  similar  angels,  but  with  the  addition  of  the  figure  of  St 
Catherine  of  Alexandria,  on  whose  finger  the  Christ  is  placing 
a  ring.  This  is  an  earty  intermediate  type  of  the  Marriage 
of  St.  Catherine,  hardly  yet  characterized.  Most  of  these 
Madonnas  have  the  characteristic  softness  and  peculiar  cast  of 
countenance  of  the  early  School  of  Siena. 

1279,  Gentile  da  Fabriano,  is  almost  a  simple  Madonna  and 
Child,  but  for  the  addition  of  the  smaller  donor,  Pandolfo 
Malatesta,  Lord  of  Rimini.  This  picture  shows  the  bland  and 
round-faced  Umbrian  type  which  is  closely  allied  to  that  of 
Siena.  Both  School  are  remarkable  for  the  fervent  pietism 
which  blossomed  out  in  full  in  St.  Francis  of  Assisi  and  St 
Catherine  of  Siena. 

In  the  beautiful  Perugino  above,  1564,  note  the  complete 
transformation  in  the  later  Umbrian  school  of  the  adoring 
angels  into  a  graceful  pair,  and  the  beginning  of  an  attempt  to 
group  in  comparatively  natural  attitudes  the  accompanying 
saints,  Rose  and  Catherine. 

This  feature  is  still  more  marked  in  1565,  also  Perugino, 
(but  later)  where  the  Baptist  and  St.  Catherine,  well  com- 
posed, are  thrown  into  the  background  behind  the  Madonna. 
Observe  that  while  eariier  piety  drapes  the  Child,  in  Gentile 
and  still  more  in  Perugino,  the  growing  love  for  the  nude 


[ni. 


m.]      RENAISSANCE  PARIS  {THE  LOUVRE)      I37 


sized  donors— a 
ith  the  robes  of 
id  St.  Catherine, 
ed  Virgin.  The 
ing  and  *.eneath 
iword),  St.  John 
^incent  (robed  as 
;  similar  figures, 
;  Madonna  now 
hroned  Madonna 
mgels  round  the 
aptist  and  Peter, 
•cognised.  Each 
you  can  learn  to 

:hild,  Enthroned, 
■  the  figure  of  St 
Christ  is  placing 
of  the  Marriage 
Most  of  these 
id  peculiar  cast  of 

pie  Madonna  and 
donor,  Pandolfo 

iws  the  bland  and 
allied  to  that  of 

le  fervent  pietism 

of  Assisi  and  St 

lote  the  complete 
)1  of  the  adoring 
;  of  an  attempt  to 
he  accompanying 

S5,  also  Perugino, 
herine,  well  com- 
ind  the  Madonna. 
I  Child,  in  Gentile 
love  for  the  nude 


begins  to  exhibit  itself.    A  study  of  haloes  is   also   interest- 
ing. 

On  the  opposite  or  R  side,  1315  is  a  good  example  of  the 
simple  Enthroned  Madonna  of  the  School  of  Giotto.  Com- 
pare it  with  that  next  it,  13 16,  where  the  angels  are  grouped 
with  some  attempt  at  composition. 

I397>  by  Neri  di  Bicci,  is  also  a  characteristic  half-length 
simple  Madonna,  with  the  Child  still  draped  after  the  earlier 
fashion  affected  by  this  belated  follower  of  Giottesque  models. 

1345,  beneath  it,  by  Filippo  Lippi  or  his  school,  shows  a 
characteristic  type  of  features  which  this  painter  introduced,— 
a  modification  of  the  older  Florentine  ideal :  the  face  is  said 
to  be  that  of  his  model  Lucrezia  Buti,  the  nun  with  whom  he 
eloped  and  whom  he  was  finally  permitted  to  marry.  The 
angels  in  the  back^fround  show  well  the  rapid  advance  in  the 
treatment  of  these  accessories.  Observe,  as  you  pass,  their 
Florentine  lilies.  Their  features  are  like  those  of  the  Medici 
children,  as  seen  in  numerous  works  at  Florence. 

In  1395,  by  Botticelli,  we  get  that  individual  painter's  pecu- 
liar mystical  and  somewhat  languid  type,  while  the  angels  are 
again  like  Medici  portraits.  Study  these  Botticellis  for  his 
artistic  personality. 

1344,  by  Filippo  Lippi,  next  to  it,  exhibits  Filippo's  very 
rounded  faces,  both  in  Madonna  and  angels.  The  type  is  more 
human.  Here,  again,  we  have  the  Florentine  lily  borne  by 
the  adoring  choir,  whose  position  should  be  compared  as  a 
faint  lingering  reminiscence  of  that  in  the  Giottesques  ai\d 
the  great  Cimabue.  Observe,  at  the  same  time,  the  division 
of  the  painting  as  a  whole  into  three  false  compartments,  a 
suggestion  fi-om  the  earlier  type  of  altar-piece.  At  the  Ma- 
donna's feet  are  two  adoring  saints,  difficult  to  identify — Flor- 
entine and  local,  probably.  Do  not  fail  to  gaze  close  at  the 
characteristic  baby  cherubs,  perhaps  Lucrezia's.  This  picture 
should  be  compared  in  all  its  details  with  earlier  pictures  of 
angel  choirs.  It  is  a  lovely  work.  Its  delicate  painting  is 
strongly  characteristic.  The  relief  of  the  faces  should  be 
specially  notnd. 

The  Botticelli  next  it,  1296,  introduces  us  to  the  infant  St. 
John  of  Florence  whom  we  meet  again  in  the  Belle  Jardiniire 


138 


PARIS 


[III. 


of  Raphael's  Florentine  period.    Another  young  St.  John  close 
by  is  full  of  suggestions  of  DonatcUo  in  the  Sculpture  Gallery. 

493,  above  the  last  but  one,  is  a  very  characteristic  Ma- 
donna of  the  Florentine  school,  closely  resembling  the  type  of 
Botticelli.  This  once  more  is  a  simple  Madonna  and  Child, 
without  accessories. 

In  1662,  the  sanctity  has  almost  disappeared  and  we  get 
scarcely  more  than  a  purely  human  mother  and  baby. 

On  the  opposite  side.  4573,  »  »  half-length  by  Perugino,  the 
affected  pose  of  whose  neck  and  the  character  of  whose  face 
you  will  now  recognise ;  the  Madonna  floats  in  an  almond- 
shaped  glory  of  cherubs,  which  indicates  her  ascent  to  heaven. 
Several  similar  subjects  exist  in  sculpture  at  Cluny. 

1540.  Lo  Spagna,is  again  a  simple  half-length  Madonna, 
whose  purely  Umbrian  type  recalls  both  Perugino  and  the 
earlier  examples.  Compare  the  Peruginos,  Raphaels,  and  Lo 
Spagnas  here,  and  form  from  them  some  conception  of  the 

Umbrian  ideal.  ~,  •     ., 

Of  the  Bellini  beside  it  I  have  already  spoken  sufficiently. 
Observe,  here,  the  absolute  nudity  of  the  Child,  and  the  reduc- 
tion of  the  angels  to  sweet  Uttle  cherub  heads  among  clouds  in 
the  background.  The  graceful  arrangement  of  the  attendant 
saints  strikes  a  Bellini  keynote  :  it  was  followed  in  later 
developments  of  this  subject  by  Venetian  painters.  Such  half- 
lengths  are  common  among  the  School  of  Bellini. 

The  treatment  by  Cima,  1259,  introducing  landscape,  and 
the  peculiarly  high  Venetian  throne,  is  one  of  a  sort  also  very 
frequent  for  full-length  Madonnas  at  Venice  and  in  the 
Venetian  territory.  The  grouping  of  the  saints,  also,  is  here 
transitional    Compare  it  with  the  exquisite  Lorenzo  di  Credi 

°Tn  the  opposite  wall,  1367,  by  Mainardi,  shows  us  a  Flor- 
entine  face,  the  St.  John  of  Florence,  and  the  typical  sweet- 
faced  Florentine  angels,  holding  lilies;  in  the  background,  a 

view  of  the  city.  ,   ^,      a  „i„-. 

Cosimo  Rosscli's,  1482,  has  again  the  almond-shaped  glory 
of  cherubs,  the  nude  Child,  the  typical  Florentine  face  (which 
you  may  now  recognise)  and  also  characteristic  Florentine 
angels  •  but  its  St  Bernard  and  the  Magdalen  are  introduced 


[III. 

»g  St.  John  close 
ilpture  Gallery, 
aracteristic  Ma- 
iling the  type  of 
onna  and  Child, 

ired  and  we  get 
d  baby. 

by  Perugino,  the 
ter  of  whose  face 
ts  in  an  almond- 
ascent  to  heaven. 
Huny. 

length  Madonna, 
i>erugino  and  the 
Raphaels,  and  Lo 
:onception  of  the 

poken  sufficiently, 
d,  and  the  reduc- 
i  among  clouds  in 
[t  of  the  attendant 
followed  in  later 
nters.  Such  half- 
llini. 

ng  landscape,  and 
)f  a  sort  also  very 
'enice  and  in  the 
taints,  also,  is  here 
;  Lorenzo  di  Credi 

shows  us  a  Flor- 
the  typical  sweet- 
the  background,  a 

mond-shaped  glory 
rentine  face  (which 
.cteristic  Florentine 
ilen  are  introduced 


II!.]      RENAISSAyCE  PARIS  {THE  LOUVRE)      139 

on  clouds  after  a  somewhat  novel  fashion.    The  St.  Bernard 
is  writing  down  his  vision  of  the  Madonna. 

I  have  already  called  attention  to  the  beautiful  grouping  in 
1263  by  Lorenzo  di  Credi ;  but  observe  now  that  the  exquisite 
attendant  saints,  almost  statuesque  in  their  clear-cut  isolation, 
still  show  a  reminiscence  of  the  earlier  arrangement  in  taber- 
nacles by  the  Renaissance  archways  at  their  back,  combined 
with  the  niche  in  which  the  Madonna  is  enthroned.  Only  by 
the  light  of  Giottesque  examples  can  we  understand  the 
composition  of  this  glorious  picture.  We  do  not  know  the 
circumstances  under  which  it  was  produced  :  but  St.  Julian 
was  the  patron  saint  of  Rimini,  as  St.  Nicolas  was  of  Bari. 
Both  these  towns  were  great  Adriatic  ports :  and  I  believe  it 
was  painted  for  a  merchant  of  the  neighbourhood. 

Do  not  be  content  in  any  of  these  cases  with  observing 
merely  the  points  to  which  I  call  definite  attention;  try  to 
compare  each  work  throughout  in  all  its  details  with  others  like 
it.  The  evolution  of  the  grouping,  in  fact,  will  give  you  endless 
hints  as  to  the  history  and  development  of  the  art  of  composi- 
tion. This  picture  of  Lorenzo's  may  be  regarded  as  exemplify- 
ing the  finest  stage  in  such  works  :  those  of  later  date  are  less 
pure  and  severe— show  a  tendency  to  confusion. 

This  will  be  quite  enough  to  occupy  you  for  one  day.  Another 
morning,  proceed  into  the  Long  Gallery,  where  you  can 
similarly  compare  the  High  Renaissance  types  and  the  Lion- 
ardesque  Madonnas  of  the  later  School  of  Lombardy. 

In  the  little  Madonna  of  the  School  of  Francia,  I437i  observe 
the  position  of  the  attendant  saint,  the  new  type  of  face  proper 
to  the  art  of  Bologna,  and  the  way  in  which,  as  often,  the 
infant  Christ  is  poised  on  a  parapet. 

1553,  by  Garofalo,  shows  a  later  and  softer  development  of  a 
somewhat  similar  (Ferrarese)  type  ;  but  the  Child,  instead  of 
blessing  with  his  two  fingers  as  in  most  early  cases,  here 
displays  the  growing  Renaissance  love  of  variety  and  novelty  : 
he  is  asleep  in  his  cradle.  Observe  his  attitude  in  this  and 
other  instances.  With  all  these  changes,  however,  you  cannot 
fail  to  be  struck  by  the  fairly  constant  persistence  of  the  red 
tunic  and  the  blue  mantle  of  the  Madonna,  as  well  as  by  the 
nature  of  her  head-dress  in  each  great  School    Never  fail  to 


fW 


140 


PARIS 


(III. 


observe  the  characteristic  head-dresses  in  the  various  Schools 
of  Italian  art.  They  will  help  you,  like  the  faces,  to  form  types 
for  comparison.  .       t      i      i 

1353,  by  Luini,  introduces  us  at  once  to  the  Lombard- 
Lionardesjue  class  of  face  and  hair.  Compare  it  closely  wUh 
the  Madonnas  in  the  frescoes  in  the  Salle  Duchatel  The 
introduction  of  Joseph  makes  this  in  essence  a  Holy  Family. 
Note  Luini's  development  of  the  halo  of  Christ,  cruciform  m 
early  cases,  or  composed  of  a  cross  inscribed  in  a  circle,  into  a 
cross-like  arrangement  of  rays  of  light. 

The  two  works  by  Marco  da  Oggiono,  close  by,  betray  similar 
types,  far  inferior  to  Luini's,  with  further  loss  of  primitive 

reverence.  i^^uarri 

In  1181,  Borgognone's  Presentation,  an  earlier  Lonbard 
work,  the  Madonna  faintly  foreshadow-  this  Lionardesque  type, 
though  the  Lionardesque  features  aie  far  less  maikedly  present 
than  in  many  other  examples  by  this  silvery  painter. 

,  530  by  Solario,  the  famous  Madonna  of  the  Green  Cushion, 
may  be  compared  with  those  by  Marco  da  Oggiono,  which  it 

resembles  in  motive. 

In  1599,  La  Vierge  aux  Rochers,  we  get  Lionardos  own 
personal  type,  which  is  also  seen  in  the  Madonna  and  St.  Anne 
of  the  Salon  Carr«<.    Compare  all  these  with  the  Mona  Lisa, 
for  touch  and  spirit.    Then  continue  your  examination  through 
the  rest  of  this  room  with  the  Lionardesque  types  :  after  which, 
turn  to  the  School  of  Venice,  beyond  them,  and  note  the 
evolution  of  the  Titianesque  types  from  the  primitive  Venetians. 
On  the  opposite  side  of  the  same  room,  observe,  once  more, 
how  Fra  Bartolommeo  and  his  School  arranged  their  extremely 
complex  groups  of  saints  into  a  composition  resembling  a  state 
ceremonial.    From  this  point  on  in  the  evolution  of  the  Santa 
Conversazione  you  will  see  that  the  arrangement  of  the  saints 
entirely  loses  all  sense  of  sacred  meaning.    Artificial  ecstasies 
replace  natural  piety.    An  attempt  to  be  artistic,  and  a  desire 
to  introduce  a  mode  of  treatment  fitter  for  the  theatre  than  for 
the  church,  at  last  entirely  obscure  the  original  meanmg  of 
these  groups,  which  are  so  full  of  ardour  in  Fra  Angelico,  so 
full  of  stateliness  in  Lorenzo  diCredi. 
Another  day  may  well  be  devoted  to  the  quaintly  girlish 


[ill. 

B  various  Schools 
ices,  to  form  types 

lo  the  Lombard- 
ire  it  closely  with 
5  Duchatel.  The 
e  a  Holy  Family. 
Iirist,  cruciform  in 
.  in  a  circle,  into  a 

,e  by,  betray  similar 
■  loss  of  primitive 

»  earlier  Lorrbard 
Lionardesque  type, 
is  maikedly  present 
painter. 

the  Green  Cushion, 
,  Oggiono,  which  it 

jet  Lionardo's  own 
donna  and  St.  Anne 
th  the  Mona  Lisa, 
xamination  through 

types  :  after  which, 
hem,  and  note  the 
primitive  Venetians, 
observe,  once  more, 
nged  their  extremely 
n  resembling  a  state 
olution  of  the  Santa 
rement  of  the  saints 
Artificial  ecstasies 
irtistic,  and  a  desire 

the  theatre  than  for 
original  meaning  of 
r  in  Fra  Angelico,  so 

the  quaintly  girlish 


III.]      RENAISSANCE   PARIS  {THE  LOUVRE)      14I 

Madonnas  of  the  Flemish  School.  Begin  by  observing  care- 
fully the  Van  Eyck  of  the  Salon  Carr^,  which  is  a  Madonna 
with  donor,  and  the  Memling  of  the  Salle  DuchAtel,  which  is  a 
Madonna  with  donors,  not  one  with  saints ;  the  patrons  here 
being  merely  brought  in  to  introduce  the  votaries  to  Our  Lady's 
notice.  From  these,  proceed  to  the  Early  Flemish  section  of 
the  Long  Gallery,  and  note  in  detail  the  evolution  of  the  type  in 
later  pictures.  I  need  hardly  call  attention  to  the  Flemish  love 
for  crowns,  jewellery,  and  costly  adjuncts.  These  reflect  the 
wealthy  burgher  life  of  Bruges,  Ghent,  and  Antwerp.  The 
translucent  colour  of  the  Flemish  painters,  too,  lends  itself  well 
to  these  decorative  elements. 

The  best  example  of  an  Early  French  Madonna  is  the 
beautiful  one  which  hangs  by  the  R  hand  side  of  the  door  in 
the  Salon    Carr^,  leading   into   the    Salle    Duchfttel.     This 
exquisite  figure,  a  true  masterpiece  of  its  School,  should  be 
compared  with  later  French  developments  in  painting,  as  well 
as  with  the  admirable  collection  of  plastic  works  of  this  School 
in  the  Renaissance  Sculpture  Gallery  down  stairs.    With  these 
may  also  be  mentioned,  as  a  typical  French  example,  the  famous 
miracle-working  Notre-Dame-de-Paris,  a  statue  of  the  thirteenth 
or  fourteenth  century,  which  stands  under  a  canopy  against  the 
pillar  by  the  entrance  to  the  choir  in  the  south  transept  of 
Notre-Dame,  and  is  popularly  regarded  as  the  statue  of  Our 
Lady  to  which  the  church  is  dedicated.    The  close  connection 
between  royalty  and  religion  in  France,  well  exemplified  in  the 
number  of  saints  of  the  royal  house  at  St.  Germain  I'Auxerrois, 
St.  Germain-des-Prds,  St.  Denis,  and  elsewhere,  is  markedly 
exhibited  in  the  extremely  regal  and  high-bred  character  always 
given  to  French  Madonnas.    The  Florentine,  which  form  in 
this  respect   the   greatest    contrast,  are  often   envisaged  as 
idealised  peasant  girls,  full  of  soul  and  fervour,  but  by  no  means 
exalted. 

Finally,  note  as  far  as  is  possible  with  the  few  materials  in 
this  collection,  the  round-faced,  placid  type  of  the  Qerman 
Madonna— placid  when  at  rest,  though  contorted  (as  the  Mater 
Dolorosa)  with  exaggerated  anguish.  The  fine  wooden  statue  in 
the  room  of  the  Limoges  enamels  at  Cluny  will  help  to  strike  the 
key-note  for  this  somewhat  domestic  national  ideal.    The  early 


PARIS 


[III. 


German  Madonna  is  as  often  as  not  just  a  glorified  house- 

*'Many  other  subjects  for  similar  comparative  treatment  may 
be  found  in  the  Louvre.    Pick  out  for  yourself  a  special  theme, 
such  as,  for  example,  the  Adoration  of  the  Magi,  the  Nativity, 
the  Presentation  in  the  Temple,  or  the  Agony  in  the  Garden, 
and  try  to  follow  it  out  through  various  examples.    Choose  also 
a  saint  or  two,  and  pursue  them  steadily  through  their  evolution. 
Do  not  think  that  to  examine  paintings  in  this  way  is  to  be 
absorbed  by  the  subject  rather  than  by  the  art  of  the  painter. 
Only  superficial  observers  fall  into  this  error.    You  will  find  on 
the  contrary  that  the  characteristics  of  each  School  and  of  each 
artist  can  best  be  discovered  and  observed  by  watching  how 
each  modifies  or  alters  pre-existing  and   conventional  con- 
ceptions.    In  order  to  thoroughly  understand  any  early  picture, 
you  must  look  at  it  first  as  a  representation  of  such-and-such  a 
Klven  subject,  for  which  a  relatively  fixed  and  conventional  set 
of  figures  or  accessories  was  prescribed  by  tradition.   The  num- 
ber and  minuteness  of  the  prescribed  ac-ssorics  will  grow  upon 
you  as  you  watch  them.    You  have  •        to  observe  how  e«ch 
School  as  .whole  treats  sucij  works  eeling  it  introduces, 

towards  what  sort  of  modification  in  sty ..  o.  tone  it  usually  tends. 
Next  you  must  consider  it  relatively  to  IU  age.  as  exemplify- 
ing a  particular  stage  in  the  progress  of  the  science  and  art  of 
painting.    Last  of  all  you  must  carefully  estimate  what  pecu- 
liarities  are  due  to  the  taste,  the  temperament,  the  hand,  and 
the  technique  of  the  Individual  artist.     For  example,  Gerard 
David's  Marriage  at  Cana  is  thoroughly  Flemish  in  all  its 
details  ;  while  Paolo  Veronese's  is  thoroughly  Venetian.    You 
may  notice  the  Flemish  and  Venetian  hand,  not  merely  in 
the  figures  and  the  composition  as  a  whole,  but  even  m  the 
extraordinarily  divergent  treatment  of  such  details  as  the  jars 
in  the  foreground,  which  for  David  are  painted  with  Flemish 
daintiness  of  detail,  though  coarse  and  rough  in  themselves; 
while  Veronese   approaches  them  with  Venetian   wealth  of 
Renaissance  fancy,  both  in  decoration  and  handling.    But  the 
David,  again,  is  not  merely  Flemish  :  it  has  the  distinctive 
marks  of  that  particular  Fleming,  and  should  be  compared  with 
his  lovely  portrait  of  a  kneeling  donor  with  his  three  patron 


.,    -l 


[ill. 

a  glorified  house- 

ve  treatment  may 
If  a  special  theme, 
lagi,  the  Nativity, 
ny  in  the  Garden, 
pics.  Choose  also 
igh  their  evolution. 
I  this  way  is  to  be 
art  of  the  painter. 
.  You  will  find  on 
School  and  of  each 
1  by  watching  how 

conventional  con- 
d  any  early  picture, 
of  such-and-such  a 
nd  conventional  set 
radition.  The  num- 
)rics  will  grow  upon 
a  observe  how  each 

eeling  it  introduces, 
tone  it  usually  tends. 

age,  as  exemplify- 
5  science  and  art  of 
istimate  what  pecu- 
nent,  the  hand,  and 
or  example,  Gerard 

Flemish  in  all  its 
>hly  Venetian.  You 
land,  not  merely  in 
ole,  but  even  in  the 
:h  details  as  the  jars 
ainted  with  Flemish 
jugh  in  themselves ; 
Venetian  wealth  of 
1  handling.    But  the 

has  the  distinctive 
dd  be  compared  with 
rith  his  three  patron 


J 


III]      REffAISSANCE  PARIS  {THE  LOUVRE)     143 

saints  in  the  National  Gallery  :  while  the  Veronese  is  noticeable 
for  the  voluptuousness,  the  over-richness,  the  dash  and  spirit, 
of  that  large  free  master  of  the  full  Renaissance,  the  Rubens 
by  comparison  among  the  Venetians  of  his  time.  So  too,  if 
you  study  attentively  the  Botticellis  in  the  Salle  des  Primitifs, 
you  can  notice  a  close  similarity  of  type  in  many  of  his  faces 
with  the  types  in  certain  pictures  by  Fiiippo  Lippi  and  still 
more  in  those  by  other  Florentines  of  the  same  period  ;  while 
you  are  yet  even  more  distinctly  struck  by  the  intense  individu- 
ality and  refined  spiritual  feeling  of  this  very  original  and  soul- 
ful master. 

In  order  to  study  the  Louvre  aright,  in  short,  you  must  be 
continually  comparing.  In  a  word,  regard  each  work,  first, 
as  a  representation  of  such-and-such  a  subject,  falling  Into  Its 
proper  place  in  the  evolution  of  Its  series  :  second,  as  belong- 
ing to  such-and-such  a  school  or  nationality  :  third,  as  repre- 
senting such-and-such  an  age  in  the  historical  evolution  01 
the  art  of  painting  :  fourth,  as  exhibiting  the  Individuality,  the 
style,  the  characteristics,  the  technique,  and  the  peculiar  touch 
of  such-and-such  an  individual  painter.  Only  thus  can  you 
study  art  aright  In  this  or  any  other  gallery. 

Try  this  method  on  Van  Eyck's  Madonna,  on  Titian's  En- 
tombment, on  Sebastlano  del  Plombo's  Visitation,  and  on 
Memllng's  little  John  Baptist,  which  Is  one  attendant  saint 
from  a  triptych  whose  Madonna  Is  missing. 

Some  other  time,  consider  In  detail  the  two  delicately 
luminous  frescoes  by  Lulnl,  in  the  Salle  Duchfttel.  Before 
doing  so,  however,  read  on  the  spot  the  following  remarks. 

I  have  spoken  here  for  the  most  part  from  the  point  of 
view  of  those  visitors  who  have  not  travelled  much  in  Italy 
or  the  Low  Countries.  And,  as  a  matter  of  fact,  the  Louvre 
is  the  first  great  picture  gallery  on  the  Continent  visited 
by  nine  out  of  ten  English  or  Americans.  In  reality,  how- 
ever, since  this  collection  contains  several  isolated  master- 
pieces of  all  the  great  schools,  together  with  several 
unconnected  pictures  of  minor  artists.  It  requires,  almost 
more  than  any  other  great  gallery,  to  be  seen  by  the  light 
of  information  acquired  elsewhere.     It  ought,  therefore,  to  be 


m 


144 


PARIS 


to   other  countries.      This  co)ieaio  ,  Angelico. 

.orksby  van  Eyck  by  Metnhns^^^^^^^^^^  ^^^^^ 

But  Van  Eyck  can  ""^^  ^f  f  "^  „„i  be  fully  understood 
have  visited  Ghent ;  Memlmg  can  on^y  X^^.^^^  ^^^^^^ 

,y  those  -^''/-^jtlTou  have  seen  Ws  ,reat  series 
to  comprehend  ^^otto  "jl'i"^^  Arena  at  Padua:  U  .s 
of  frescoes   in  the    ^aaonna  Aneelico  unless  you 

^-^°^'^'^.''fV::Z^TeJ:i  wis  at  San  Marco 
have  examined  the  sa"»'»y  ^^°  ^^^r   in  mind   that   the 

in  Florence.     Thus   you   have   »«   ^'^^  .       ^f  masters 

works  in  the  Louvre  are  on^y  .tn^y  ^«^^^^^^  ^,,,  ^ 
and  schools  .ith  whom  an  adequate^  a^q^^^^  ^^^^  ^ 
obtained  elsewhere,     u  «  Mantegna,  because  he 

these  notes  with  special  "ample^^^^^^  ^  ^^  ^^^^ 

is  one  of  the  ^^2J::JZl^^-c.,ilon  in  Paris  alone, 

you  can  form  ^J^^^^  by  observation  in  Italy. 

to  be  pieced  out  aft"*ards  oy  ^_^^.^^^  ^^ 

Furthermore,  it  must  ^\'"°"*"*      ^  «„«  which 

only  be  seen  to  advantage  under  Aecondm^^^^^      ^^^   ^^^^ 

tbelr   works   were   produced      This  P  ^^^^^^^ 

,,b  the  ^^^^^l^'^^^l.^^ZlnUrs.  Their  altar-pieces 
They  were  a  school  «*  ««~*/j^^,  ^  ^ery  inadequate  idea 
and  other  -P-^XptiSy  o^tU  composition.  Giotto 
of  their  powers,  and  especiauy  ^^^  estimated 

and  Fra  Angelico.  mparU^u^^^^  ^^^^^  ^^  ^,^  ^jp, 

aright  by  any  of  their  works  »  ^^^  in  character, 

The  aUav.pieces,bemg  more  espe^^'y  ^^^^^^^  ^^  j.,, 

were  relatively   very   fi^fj"^    .J  the  histories  of 
variation,  less   mcident,  less   actio",  ^^^^^^^     ^ou 

saints  which  frequently  form  thejubje  ^^^^^^  ,^^^^^^^ 
can  judge  of  this  to  a  si  ght  e-t»nt ja  ^^  ^^^  ^^^^  ^^^ 
comparing  the  Madonnas  atjhj  ^ai^.^j^  ^angs  by:  for  the 
Primitifs  with  Giotto's  St.  Francis  wn  ^^^   ^^^^ 

Madonna   was   the   most     acred  ^and  ^^^  ^^  ^^^^  ^^^^^^ 

rt:i^"-TB:^-ci^tS^:: 


•^ 


-Vfv 


than,  hejori  visits 
example,  includes 
,  by  Fra  Angelico. 
jod  by  those  who 
le  fully  understood 
\  impossible  really 
en  his  fjreat  series 
I  at    Padua :    it  is 
ngelico  unless  you 
orks  at  San  Marco 

in  mind   that   the 
Rinples  of  masters 
quaintance  must  be 
sason  that  I  began 
integna,  because  he 
in  French,  of  whom 
ition  in  Paris  alone, 
on  in  Italy. 
4at  many  artists,  can 
litions  amid  which 

especially  the   case 

and  15th  centuries. 
I.     Their  altar-pieces 
very  inadequate  idea 
composition.     Giotto 
possibly  be  estimated 
sn  north  of  the  Alps, 
r  sacred  in  character, 
they   allowed  of  less 
than   the  histories  of 
lects  of  frescoes.    You 
1  the  Louvre  itself,  by 
end  of  the  Salle  des 
ich  hangs  by :  for  the 
I    therefore  the   most 

will  at  once  observe 
ic  is  the  treatment  in 
.  comparatively  wooden 
surrounded.     Still  more 


RENAISSANCE  PARIS  (THE  LOUVRE)      145 

is  this  the  case  when  we  come  to  compare  any  of  these 
altar-pieces  with  frescoes  such  as  those  of  the  Arena  at 
Padua,  or  Santa  Croce  at  Florence.  Similarly  with  Fra 
Angelico:  the  little  crowded  works  which  he  produced  as 
altar-pieces  give  a  totally  different  conception  of  his  character 
and  powers  than  that  which  we  derive  from  the  large  and 
relatively  spacious  frescoes  at  San  Marco,  or  in  Pope 
Nicolas's  Chapel  at  the  Vatican.  In  such  works,  we  see  him 
expand  into  a  totally  differei  manner.  Now  frescoes,  by 
their  very  nature,  cannot  easily  be  removed  from  the  walls 
of  churches  without  great  danger.  Therefore,  the  school  of 
fresco-painters— that  is  to  say,  the  Early  Italian  school- 
is  ill  represented  outside  Italy. 

Now  Luini,  though  he  belongs  to  the  i6th  century,  and 
though  he  produced  some  of  his  most  beautiful  works  as 
cabinet  or  panel  pictures,  was  yet  almost  as  essentially  a 
painter  in  fresco  as  Fra  Angelico  or  Ghirlandajo.  He  can 
best  be  appreciated  in  Milan  and  its  neighbourhood.  And 
I  will  add  a  tew  notes  here  for  the  benefit  of  those  who 
know  Italy,  and  who  can  recall  the  works  they  have  seen 
in  that  country.  At  the  Brera  in  Milan,  an  immense  number 
of  his  frescoes,  cut  out  from  churches,  can  be  seen  and 
compared  to  great  advantage.  Everybody  who  has  visited 
that  noble  gallery  must  recall  at  least  the  exquisite  figure  of 
St.  Catherine  placed  in  her  sarcophagus  by  angels,  as  well 
as  the  lovely  Madonna  with  St.  Antony  and  St.  Barbara, 
where  the  face  and  beard  of  the  aged  anchorite  somewhat 
recall  the  treatment  of  the  old  bearded  king  in  the  Adoration 
of  the  Magi  in  this  gallery.  Still  better  can  Luini's  work  be 
understood  by  those  who  know  the  Sanctuary  at  Saronno, 
where  a  splendid  series  of  his  frescoes  still  exists  on  the 
wall  of  the  great  church  in  which  they  were  painted.  The 
two  frescoes  here  in  the  Salle  Duch^tel  are  not  quite  so  fine 
either  as  those  at  Saronno  or  as  the  very  best  examples 
among  the  collection  at  the  Brera.  Nevertheless,  they  are 
beautiful  and  delicately-toned  specimens  of  Luini's  work,  and, 
if  studied  in  conjunction  with  other  pictures  by  the  same 
artist  in  the  adjoining  rooms,  they  v.iil  serve  to  give  a 
tolerably  just  conception  of  his  style  and  genius. 

K 


II 


146 


PARIS 


[HI. 


1  uini  is  essentiaUy  a  Llonardesque  painter.    He  was  not 
amX  a  p  p    o  Lionardo  ;  but  like  all  other  Lombard  art^ts 
S  his  time  he  was  deeply  influenced  by  the  temperament  and 
Imp    of  th!  Florentine  master.    If  you  wish  to  see  the  kmd 
Tf  i  produced  by  the  Lombard  school  ../.«  U  had  under^ 
gone  this  quickening  influence  of  Lionardo -been  Tuscan.sed 
S  L  onardised-look  at  the  Borgognones  m  the  Long  Gallery 
These    again,  are  not  at  all  satisfactory  speamens  of  that 
lender'  dKte,  and  silvery  colourist.    To  appreciate  Borgo- 
Innneafl^^e  ought  to  be  appreciated,  however,  you  must  have 
frhimathomeiltheCenosa  di  Pavia  :  though  even  those 
w^krow  only   his  exquisitely  spiritual  aUa-p.ece   of  the 
Madonna  with  the  two  St.  Catherines  (of  Alexandria  and  S.ena) 
^te  National  Gallery  will  recognise  ^^^  ^^^1^. 
work  is  represented  by  the  specimens  m  the  Louvre.     Never 
Ses     these  examples,  inferior  though  they  be  m  style  and 
fS  will  serve  fairly  well  to  indicate  the  pomt  to  which  ar 
h^d  attled  in  Lombardy  be/or,  the  advent  of  Lionardo.    I 
needto   point  out  their  comparatively  -haic  character  and 
their  close  following  of  earlier  methods  and  motives.     Aga,^  ^ 
vou  compare  with  Borgognone  the  subsequent  group  of  L.on- 
youcompa  his  contemporaries,-whose 

IThanfrse  by  on  the  left-hand  wall  of  the  Long  Galley. 
Itw^fehw  immense  was  the  change  which  Lionardo 

introluced  into  Lombard  art.    From  his  time  forward,  the 
mtroducea  in  ^^^  ^^^^^^  ^^^^^  ^f 

';^"^:sZiZ:s:i  cV  and  as  far  as  possible  the  touch 

and  technique  of  the  master,  are  reproduced  over  and  over 

!ln  hv  the  next  generation  of  Milanese  painters.    Among 

S  il   L^nfstlnds  preeminently  forward  as  the  only  one 

ndl^'  tuhp  ofound'original  genius,  capaW.  of  transfusing 

he  Jotrdesqu'e  types  with  new  vitality  and  beaUyofh^  own 

conceiving     The  others  are  imitators  :  Lu.ni  is  a  i  sciple. 

ThTe  ftributes  are  well  seen  in  the  two  beautiful  frescoes  of 

thJ sine  Duchitel.  They  came  to  Paris  from  the  Palazzo  Luta, 

tat  itSome'  ococo  palace  in  Milan  which  stands  nearly 

optitet  church  of  San  Maurizio,  itself  a jnus-^^^  ^m.^^ 
opposite  uic  ..,.•_  .u-  incomparable  Execution  of  St. 


life 


[III. 

Iter.  He  was  not 
ler  Lombard  artists 
!  temperament  and 
nsh  to  see  the  kind 
\efore  it  had  under- 
,— been  Tuscanised 
in  the  Long  Gallery. 

specimens  of  that 
J  appreciate  Borgo- 
5ver,  you  must  have 
:  though  even  those 

altar-piece   of  the 
exandria  and  Siena) 
ow  inadequately  his 
he  Louvre.     Never- 
they  be  in  style  and 
le  point  to  which  art 
vent  of  Lionardo.    I 
rchaic  character,  and 
d  motives.     Again,  if 
[juent  group  of  Lion- 
atemporaries,— whose 
I  of  the  Long  Gallery, 
ange  which  Lionardo 
lis  time  forward,  the 
the  crimped  wisps  of 
r  as  possible  the  touch 
aduced  over  and  over 
lese  painters.    Among 
:ward  as  the  only  one 

capaW-i  of  transfusing 

and  bea  Uy  of  his  own 
Luini  is  a  disciple, 
wo  beautiful  frescoes  of 

from  the  Palazzo  Litta, 
n  which  stands  nearly 
idf  a  museum  of  Luini's 
>arable  Execution  of  St. 

is  the  most  satisfactory 


III.]      RENAISSANCE  PARIS  {THE  LOUVRE)      I47 

of  the  two.  In  it  the  kings,— Caspar,  Melchior,  Balthasar,— 
representing,  as  ever,  the  three  ages  of  man  and  the  three  old 
continents,— are  treated  with  a  grace  and  soul  and  delicacy 
which  Luini  has  hardly  surpassed  even  at  Saronno.  The  eldest 
king,  as  most  often,  kneels  next  to  the  Madonna,  who  occupies 
the  conventional  R  hand  of  the  picture.  He  has  removed  his 
crown,  also  an  habitual  feature,  and  is  presenting  his  gift,  while 
the  others  are  caught  just  before  the  act  of  offering  theirs.  The 
exquisite  face  of  this  eldest  king  is  highly  typical ;  so  is  the 
gently-smiling  Lionardesque  Madonna.  The  youngest  king  is 
represented  as  a  Moor,  as  always  in  German,  Flemish,  and 
North  Italian  art,  though  this  trait  is  rarer,  if  it  occurs  at  all,  in 
the  Florentine  and  Central  Italian  painters.  I  take  it  that  the 
notion  of  the  Moor  was  derived  from  Venice ;  for  the  Three 
Kings  were  great  objects  of  devotion  in  Lombardy  and  the 
Rhine  country.  Their  relics,  which  now  repose  at  Cologne, 
made  a  long  stay  on  their  way  from  the  East  at  Milan  ;  .-nd  it 
is  to  this  fact,  I  fancy,  that  we  must  attribute  the  exceptional 
frequency  of  this  subject  in  the  art  of  Northern  Italy,  as  of  the 
Rhenish  region.  In  the  background,  the  usual  caravans  are 
seen  descending  the  mountain.  Such  long  trains  of  servants 
and  attendants  are  commonly  seen  in  Adorations  of  the  Magi. 
Camels  and  even  elephants  frequently  form  part  of  them. 
Recollect  the  charming  procession  in  the  exquisite  Benozzo 
Gozzoli  in  the  Riccardi  Palace.  A  study  of  this  subject,  from 
the  simple  beginnings  in  Giotto's  fresco  in  the  Arena  at 
Padua  (where  a  single  servant  and  a  very  grotesque  camel, 
entirely  evolved  out  of  the  painter's  imagination,  form  the  sole 
elements  of  the  cortege  beyond  the  Three  Kings),  down  to  the 
highly  complex  Ghirlandajo  in  the  Uffizi  at  Florence,  (a  good 
copy  of  which  may  be  seen  at  the  Ecole  des  Beaux  Arts,)  and 
thence  to  Luini,  Bonifazio  and  the  later  Italians,  forms  a  most 
interesting  subject  for  the  comprehension  of  the  historical 
evolution  of  art  in  Italy.  Go  straight  from  this  picture  to  the 
Rubens  in  the  Salon  Carrd  in  order  to  observe  the  way  in  which 
the  theme  has  been  treated,  with  considerable  attention  to 
traditional  detail,  yet  with  highly  transformed  feeling,  by  the 
great  and  princely  Flemish  painter. 
The  Nativity,  in  Luini's  second  fresco,  is  also  full  of  tradi- 


PARIS 

lal  (.atures.-a  beau...!  wory^^^j::^^ S^  t^, 
gentle  artist.  Note  every  ""f^J^^^^X  pictures,  and  also 
observing  how  they  have  <=°>;^  ™^/^^^^^^^^  ^o  his  own  art 
how  completely  Lum.  has  «"^°^J;"^^^^^^^  ,i,„e  two  with  the 
and  his  deUcate  handlmg.    Co'"Pan«>n  .^^^  ^^  ^.^ 

other  Luinis  in  "^J^^er  and  o  irai'ting.    Note  that  the 
Sfs  r:;renU^tS;and  are  fullest  of  Luini. 

Another  picture,  wh^cU^^^^ 
plifies  the  need  for  knowledge  of  >v«rks^^^^^^^  ^^^^^  ^.^^^^^^ 
Specially  ""^^er  the  condU'ons  m  ^^^^^^^^^^  V^^^^^^  ^^  3^, 
painted,  is  to  be  found  '"  ^"P^^fter  you  enter  the  Salle 
Stephen,  on  the  R  hand  «f '  f  "J^'j^  „'  the  Life  of  St. 
des  Primitifs.    Th.s  IS  one  o    a  sene  ^^^  ^^^^  ^^^^ 

Stephen -a  form  of   <^or.?^on  o^  ^^^  ^^^^^^^^^^  ^^^^ 

example  in  the  Louvre  .s  Lesu^^, '"  p  ^^  ^^^^^     ^^  ^^^^^^ 
recountmg  the  biography  and  m.acU        ^^^^^^^  ^^ 
such  histories  o^samts  are  every  ^^^.^^^  ^^^ 

or  otherwise.     ^h^^^J^J^  „^„  charming  series  of  the  L.  e 
well  remember  Carpaccio  s  o  ^^^  ^^^^^  ^^  ^  ^    g,, 

of  St.  'J>^^"^r*^Ac^emy     Still  better  will  they  under- 
room  in  the  Vcn.ce  Academy^  ^^^^^^^^  Carpacc.os 

stand  the  nature  of  the«  jo^ks  'y^^V^^^^g^^  ,^  san  Giorgio 
other  delicious  series  "^  ^^e  u  ^^  ^^^^  ^^.       ^ 

dei  Schiavoni,  where  the  pictures  s  .^^^  ^^  ^^^^ 

height  from  the  ground  and  m   h  .r  J^  ^^^^^      ^^^^ 

waUs  of  the  church  f«J  J^^^'^^.^  J„d  be  properly  estimated. 

such  situations  can  wo^ks  o      ^^^^^^^^  .^  ,^ 

That  they  can  less  e^sny  ««  j^^,^  ^^^  boudoir 

gather  if  you  look  ^J^^^^f/^frPeJugino,  and  Costa,  which 
of  Isabella  d'Este,  by  Mantegna,  «    P       ^^^  ^^^^  _^^^^  ^^ 

hang  not  far  from  t^«;.7J*,gS.  in  particular,  is  lar^^-Jy 
the  Louvre.  The  size  of/^j/f^^*^^^  J  distance  from  the 
tr^  1  rS  ot  t;:;^;ace  Uch  the  palter  has  to 

-Ss  St.  Stephen  series.  a^^o^^«^--«- 
pictures,  all  by  Carpacc.o.  m  the 


[m. 


III.]      RENAISSANCE  PARIS  {THE   LOUVRE)      I49 


iliar  spirit  of  this 
ories  and  details, 
pictures,  and  also 
ni  to  his  own  art 
hese  two  with  the 
some  idea  of  his 
^.  Note  that  the 
f  Luini. 

nt  direction  exem- 
art  elsewhere,  and 
liey  v/ere  originally 
Preaching  of  St. 
you  enter  the  Salle 
of  the  Life  of  St. 
ich   the  only  good 

and  colourless  set, 
;t  Bruno.    In  Italy, 
lommon,  as  frescoes 
I,  for  example,  will 
g  series  of  the  Life 
^e  walls  of  a  single 
:ter  will  they  under- 
avs  seen  Carpaccio's 
;orge,  in  San  Giorgio 
nain,  at  their  original 
ginal  position,  on  the 
re  painted.     Only  in 
«  properly  estimated. 

in  isolation,  you  can 
;ures  from  the  boudoir 
ino,  and  Costa,  which 
\  in  the  same  room  of 
I  particular,  is  lar^.^ly 
he  distance  from  the 
lich  the  painter  has  to 

.  existed  entire  as  five 
lola  (or  Guild)  of  St. 


Stephen  at  Venice.  Similar  sets  of  other  saints  still  exist  in 
the  Scuola  di  San  Rocco  and  other  Guilds  in  the  city.  The 
first  of  the  group,  which  represents  the  saint  being  consecrated 
as  deacon  by  St.  Peter,  is  now  in  the  Berlin  Gallery.  The 
second,  the  Preaching  of  St.  Stephen,  is  the  one  before 
which  you  are  now  standing.  The  third,  St.  Stephen  disputing 
with  the  Doctors,  is  at  the  Brera  in  Milan.  The  fourth,  the 
Martyrdom  of  St.  Stephen,  is  at  Stuttgardt.  The  fifth  and  last, 
St.  Stephen  Enthroned,  between  St.  Nicolas  and  St.  Thomas 
Aquinas,  has  disappeared  from  sight,  or  at  least  its  present 
whereabouts  is  unknown  to  me.  It  is  interesting  to  look  out 
for  such  companion  works  i:i  widely  separated  galleries. 

Rightly  to  understand  this  picture,  once  more,  one  should 
know  Carpaccio.  And  fully  to  know  him  one  must  have  spent 
some  time  in  Venice.  But  even  without  that  knowledge,  it 
is  pleasant  here  to  remark  the  familiar  acquaintance  with 
oriental  life,  which  is  equally  visible  in  the  neighbouring 
picture  of  the  School  of  Bellini  representing  the  reception 
of  a  Venetian  Ambassador  at  Cairo.  The  mixed  character 
of  the  architecture  and  the  quaint  accessories  are  all  redolent 
of  Carpaccio's  semi-mediseval  and  picturesque  sentiment.  The 
pellucid  atmosphere,  the  apparent  realism,  the  underlying 
idealism,  the  naivete  of  the  innocent  saint  in  his  deacon's 
robes,  counting  his  firstly,  secondly,  and  thirdly  on  his  fingers, 
irrespective  of  persecution,  and  the  glow  and  brilliancy  of 
the  Venetian  colouring,  here  approaching  its  zenith,  all 
combine  to  make  this  daintily  simple  picture  one  of  the  most 
attractive  in  this  part  of  the  Louvre.  Recollect  it  when  you 
go  to  Milan  and  Venice,  and  let  it  fall  into  its  pro  t  place, 
in  time,  in  your  mature  conception  of  the  painter  and  the 
epoch  in  which  he  lived. 

Nor  is  this  all.  It  must  be  borne  in  mind  that  while  the 
Louvre  is  one  of  the  noblest  collections  of  pictures  in  Europe, 
it  differs  from  most  other  fine  collections  in  the  fact  that 
its  most  important  and  valuable  works  are  not  of  native 
origin,  nor  of  one  race,  school,  or  period.  The  pictures  at 
Florence  are  almost  all  Florentine  :  the  pictures  at  Venice 
are  almost  all  Venetian.  At  Bruges  and  Antwerp  we  have 
few  but  Flemish  works :  at  the  Haguci  and  Amsterdam,  few 


.u.  Dutch,     in  the  ^^^^^^ :^Z:X^ raS\^rX 
and  Munich),  we  get  several  "a^terp'cces  ^^ 

schools,  with  relatively  few  n^jnor  -orks  °^^  the  P    ^^ 

which  they  belong,  by  whose  »  g»^^^°  ^f  *'^;.  ,  of  the 
short,  this  is  a  gaUery  of  purple  P^  «f>;;- J'^^ionardos.  an 
collection  are  the  R=»P^f  ^.i^!,J^^"  '  ^  few  fine  Murillos. 
exquisite  van  Ey^k. -p^^;;^^^  "iT^lrtu.,  all  these,  we 
a  number  of  great  Ruber.ses.  i"  n„i,rian  art.  Venet  an 
,nust  know  son.etJing  of  Florermne  an^  U^^^^^^  ^^^^„^^, 

art,  Flemish  art,  Spanish  art     ^d  so  tori  ^^^^^^ 

of  any  in  the  <^'^'^^'^:\^;C^^'fX^^s  in  this  gallery 
wholly  be  comprehended  by  the  iigni  o 

alone'    Therefore  it  is  ^^^^^^  ^:^Xo^  J'l^Z  E.ro^. 

SStlS'-^r^rSTe  scU  Oer.d 

Dou,  and  Rembrandt.  ^^^^^  elsewhere 

As  a  iiirther  example  of  the  I'S^t  cast    y  p  ^.^^^^ 

on  those  in  this  Gallery.  l.owev„,  ^  P^^^^^^gt^ious  Lronn- 
subject  from  the  predel la  "^  ^^  f  "^*J^^^^^  ^hich  repre- 
tlon  ol  the  Virgin :  I  '"^f^^  .^^  f  ^  fed  by  angels  in  the 
,ents  St.  ^lf-^^:^,^'^t::     2y^^/^^o  l^^s  at 

rt^l^^P^ng.  even  int^  - 

^-^'':i;^:V^^^^-  ...h  comes 
is  permeated  oy  a  spun  »  /„ -rt«rs  Fewer  people, 
oufin  every  «-  of  '.is  -geU  ^^^^^^  n.arty-  ^^e^^,  J^/ 

however,  note  that  »^«  ^'^  \  ^^^,  js  to  the  glory  of 
voted  Dominican.  Jf^^^"  Vst.  Dominic  and  of  the 
God :  but  it  .s  also  to  ^^e  gto-y^"^^^  altar-piece,  for  instance, 
order  that  he  founded  J*"r.**„  "':„..r  of  Fiesole  for  the 
was  Produced  \theDom.m  an  p^^^^^^^^^^^  Thesainthim- 
Dominican  church  of  St.  uommic  ,_o-rent:  and  those 


[Itl. 

(as  at  Dresden 
of  all  the  great 
f  the  group*  *° 
I  bland  them.    In 
The  gems  of  the 
le  Lionardos,  an 
few  fine  Murillost 
md  all  these,  we 
jrian  art,  Venetian 
The  finest  pictures 
It  all,  and  cannot 
,rks  in  this  gallery 
to  return  to  the 
)1  of  art  in  Europe, 
e  here  very  amply 
se  Raphael,  Titian, 
ue  school,  Gerard 

IT  pictures  elsewhere 
o  take  a  single  little 
i's  glorious  Corooa- 
tment  which  repre- 
fed  by  angels  in  the 
^body  who  looks  at 
smaller  works,  can 
devout  manner.    He 
srence,  which  comes 
yrs.      Fewer  people, 
also  a  loyal  and  de- 
s  is  to  the  glory  of 
Dominic  and  of  the 
ar-piece,  for  instance, 
sr  of  Fiesole  for  the 
!Sole.    The  saint  him- 
.  apparent :  and  those 
Dominican  monastery 
that  the  founder  and 
iry  fresco  in  that  beau- 
that  this  very  subject 


III]      RENAISSANCE  PARIS  {THE  LOUVRE)     I5I 

of  the  brethren  fed  by  angels  forms  the  theme  for  a  beautiful 
but  much  later  fresco  by  Sogliani  in  the  Great  Refectory  of  the 
same  monastery.  Such  an  episode  is  admirably  adapted  for 
one  of  those  large  pictures  representing  a  repast  of  some 
sacred  character  which  it  was  usual  to  place  on  the  end  wall 
of  conventual  dining  halls.  Compare  it  also  with  a  Spanish 
treatment  of  a  similar  miracle  by  Murillo,  in  the  Cuisine  des 
Anges.  Note  the  simplicity  and  sobriety  of  the  Early  Italian 
work,  as  contrasted  with  the  strained  feeling  and  insistence 
upon  mere  effects  of  luminosity  and  glory  in  the  showy  Spanish 
painting.  The  moral  of  all  such  half-allegorical  miracles  is 
clearly  this :— Our  order  is  sustained  by  God's  divine  provi- 
dence. 

I  have  said  already  that  a  Qerman  Last  Supper  in  this 
collection  (German  Room)  betrays  the  influence  of  Lionardo|s 
great  fresco  on  the  wall  of  the  monastery  of  Santa  Maria 
delle  Graiie  at  Milan,  of  which  an  early  copy  by  a  pupil  of 
Lionardo's  exists  in  the  Louvre  (L  wall  of  the  Long  Gallery). 
But  in  order  thoroughly  to  understand  Lionardo's  Last  Supper, 
again,  we  must  similarly  compare  it  with  many  previous  repre- 
senUtions  of  the  same  sacred  scene.     The  type,  in  fact,  was 
begun  among  nameless  Byzantine  and  early  Christian  artists, 
whose  work  can  best  be  studied  in  Italy.     It  found  its  first 
notable  artistic  expression  in  Giotto'-  resco  at  Santa  Croce  at 
Florence,  where  the  traditional  type  is  considerably  trans- 
formed :  and  this  Giottesque  Last  Supper  wa?  repeated  over 
and  over  again  by  many  copyists,  who  each  infoduced  various 
modifications.     Ghirlandajo  once  more  transf vrmed  the  type 
at  San  Marco  and  the  Ognissanti ;   and  fr^m  Ghirlandajo, 
Lionardo  borrowed  part  of  his  arrangement,  vhile  transfusing 
it  wiih  an  entirely  new  element  of  life  and  ace  on,  at  a  dramatic 
moment,  which  marks  this  great  painter's  style,  and  is  a  distinct 
move  forward  in  the  art  of  composition.     Each  work  of  art 
down  to  the  end  of  the  i6th  century  can  thus  only  be  fully 
understood  by  considering  it  in  its  proper  place,  as  one  of  a 
continuous   evolutionary  series.      Every  painter   took  much 
from  those  who  went  before :   his  individuality  can  best  be 
gauged  by  observing  how  he  transformed  and  modified  what 
he  borrowed. 


152 


I'ARIS 


[111. 


Now  take  ahirlandaJo'«  VIsiUtlon  in  the  Salic  des 
Primitifs  as  an  example  of  a  work  which  in  quite  a  difTerent 
way,  requires  to  be  understood  by  light  from  elsewhere.  Note 
how  admirably  the  figures  here  are  balanced  against  the  sky 
and  the  archway  in  the  background.  In  itself,  this  is  a  beau- 
tiful and  striking  picture  ;  but  it  is  also  a  good  illustration  of 
thos"  subjects  which  cannot  adequately  be  understood  by  con- 
sideration of  works  in  this  Gallery  alone.  The  attitudes  and 
costumes  of  the  two  principal  personages  are  strictly  conven- 
tional :  nay,  if  you  compare  the  St  Elizabeth  in  this  Visitation 
with  the  same  saint  in  the  Mantegna  almost  opposite,  you  will 
see  that  her  d'...ss  and  features  remain  fairly  typical,  even  in 
two  such  very  distinct  schools  as  the  Paduan  and  the  Floren- 
tine. The  relative  positions  of  the  Madonna  and  her  rider 
cousin  have  come  down  to  Ghirlandajo  from  a  very  remote 
antiquity  :  they  were  adopted,  with  modification,  by  Giotto,  in 
his  fresco  of  this  subject  in  the  Madonna  dell'  Arena  at  Padu''. 
But  Giotto  also  introduced  an  arch  in  the  background,  which 
persists  in  almost  all  later  representations.  His  arch,  however, 
is  blind — you  do  not  see  the  sky  through  it.  So  is  Taddeo 
Gaddi's,  in  his  closely  similar  Visitation  at  Santa  Croue  in 
riorence  :  but  the  figures  here  still  more  nearly  approach  the 
positions  of  the  Ghirlandajo,  and  they  stand  more  directly 
framed,  as  it  were,  by  the  arch  behind  them.  Skipping  many 
intermediate  examples,  each  of  which  leads  up  to  this  picture, 
we  come  to  this  beautiful  embodiment  of  Ghirlandajo's,  which, 
while  retaining  the  simplicity  of  composition  in  the  earlier 
examples,  shows  a  fine  artistic  instinct  in  the  way  in  whi  :h  the 
chief  characters  are  silhouetted  in  the  gap  of  the  archway. 
Ghirlandajo  accepted  the  older  tradition,  while  transforming  it 
with  the  skill  and  taste  of  the  early  Renaissance  after  his  own 
fashion.  Those  who  have  visited  Florence  will  remember  how 
Pacchiarotto,  in  his  admirable  presentation  of  the  same  subject, 
now  in  the  Belle  Arti  in  that  town — which,  like  this  one,  is  a 
Visitation  with  selected  saints  as  spectators — has  closely  fol- 
lowed Ghirlandajo's  treatment  with  still  further  modifications  : 
while  the  noble  embodiment  of  the  same  scene  by  Mariotto 
Albertinelli,  in  the  Ufiizi,  consists  of  the  two  central  figures  in 
the  Ghirlandajo  or  the  Pacchiarotto,  cut  out,  as  it  were,  and 


[HI. 

the  Salic  des 
quite  a  different 
!lsewhere.    Note 

against  the  sky 
f,  this  is  a  beau- 
od  illustration  of 
derstood  by  con- 
'he  attitudes  and 
e  strictly  conven- 

in  this  Visitation 
opposite,  you  will 
y  typical,  even  in 
n  and  the  Floren- 
na  and  her  elder 
m  a  very  remote 
tion,  by  Giotto,  in 
I'  Arena  at  Padu-'. 
jackground,  which 
ais  arch,  however. 
It.     So  is  Taddeo 
it  Santa  Cro,.e  in 
Early  approach  the 
jnd  more  directly 
I.     Skipping  many 
up  to  this  picture, 
hirlandajo's,  which, 
tion  in  the  tiarlier 
e  way  in  whi  -.h  the 
p  of  the  archway, 
tiile  transforming  it 
sance  after  his  own 
will  remember  how 
of  the  same  subject, 
h,  like  this  one,  is  a 
rs— has  closely  fol- 
rther  modifications : 

scene  by  Mariotto 
vo  central  figures  in 
out,  as  it  were,  and 


III.]      REAAISSAXCE   PARIS  {THE   LOUVRE)      153 

presented  separately  with  noble  effect  against  a  background  of 
sky  seen  through  the  archway.  In  such  a  case  we  see  dis- 
tinctly how  the  individual  work  can  only  fairly  be  judged  as  a 
development  of  motives  borrowed  from  others  which  have 
preceded  it,  and  how  in  turn  it  gives  rise  later  to  still  further 
modifications  of  its  own  conception.  If  you  have  not  yet 
visited  Florence,  bear  in  mind  this  work  when  you  see  the 
Pacchiorotto  and  the  Albertinelli.  It  is  a  good  plan  for  the 
purposes  of  such  comparison  to  carry  about  photographs  of 
other  pictures  in  the  same  series.  You  may  go  straight  from 
the  Ghirlandajo  here  to  the  Sebastiano  del  Piombo  in  the 
Salon  Carr<? ;  and  thence  again  to  a  copy  of  Pontormo's  Visita- 
tion in  the  Long  Gallery  (r  side,  near  the  Era  Bartolommeo), 
which  is  interesting  as  showing  a  survival  of  the  arch,  treated 
with  far  less  effect,  and  thrown  away  as  an  element  in  the 
composition.  Here  the  attendant  saints  have  become  a  con- 
fused crowd,  and  the  degradation  of  Fra  Uartolommeo's  ba- 
lanced grouping  is  very  conspicuous.  Make  one  picture  thus 
cast  light  upon  another. 

II.    SCULPTURE 

[The  Sculpture  at  the  Louvre  falls  into  three  main  divisions, 
each  of  which  is  housed  in  a  separate  part  of  the  building. 
The  Classical  Sculpture  is  approached  by  the  same  door 
as  the  Paintings,  and  occupies  the  basement  floor  of  Jean 
Goujon's  part  of  the  Old  Louvre,  with  the  wing  beneath  the 
Galerie  d'Apollon.  The  Renaissance  Sculpture  is  ap- 
proached by  a  separate  door  in  the  eastern  half  of  the  same 
side,  and  occupies  the  corresponding  suite  opposite  the  Classi- 
cal series.  The  Modem  Sculpture  is  also  approached  by  a 
special  door  in  the  north  wing  of  the  w  side  in  the  old  Cour 
du  Louvre,  and  occupies  the  suite  beyond  the  Pavilion  de 
I'Horloge. 

The  importance  of  these  three  d^'isions  is  very  different. 
Without  doubt,  the  most  valuable  collection,  intrinsically  and 
artistically  speaking,  is  that  of  the  C'usical  or  Antique 
Sculpture :  and  this  should  be  visitec  !  i  close  detail  by  all 
those  who  do  not  contemplate  a  trip  to  I.ume,  Naples,  and 
Florence.    Nobody  can  afford  to  miss  the  "  Venus  of  Milo," 


1 


154 


PARIS 


[lit. 


t  II 


the  "  Diana  of  Cabii,"  or  the  Samothracian  Niki.     On  the 
other  hand,  these  exquisite  Greek  and  Roman  works,  models 
of  plastic  art  for  all  time,  including  two  or  three  of  the  greatest 
masterpieces  which  have  come  down  to  us  from  antiquity,  have 
yet  no  organic  connection  with  French  history  or  even  save 
quite  indirectly,  with  the  development  of  French  art.    At  the 
same  time,  thoroughly  to  understand  them  .s  a  ^^^^Jj"'^ 
specialist :  those  who  have  little  or  no  classical  knowledge,  and 
who  desire  to  comprehend  them,  must  be  content  to  buy  he 
new  official  catalogue  (not  yet  issued),  to  follow  closely    he 
excellent  labels,  and  also  to  study  the  subject  m  detail  in  the 
various  excellent   handbooks  of  antique  sculpture,  such   as 
Liibke's  or  Gardner's. 

The  discrimination  of  the  different  schools,  and  the  evidence 
{usua..y  very  inferential)  as  to  the  affiliation  of  the  various 
works  on  the  great  masters  or  their  followers,  are  so  much 
matters  of  expert  opinion  that  I  do  not  propose  to  enter  into 
them  here.  I  shall  merely  give,  for  the  general  reader,  a  brief 
account  of  the  succession  and  evolution  of  antique  plastic  art, 
as  exemplified  in  the  various  halls  of  this  gallery,  referring  h.m 
for  further  and  fuller  details  to  specialist  works  on  the  subject. 

The  Renaissance  Sculpture,  on  the  other  hand^is  largely 
French;  and.  whether  French  or  Italian,  it  bear,  directly  on 
the  evolution  of  Parisian  art,  and  has  the  closest  relations  with 
the  life  of  the  people.  Every  visitor  to  Pans  should  therefore 
pay  great  attention  to  this  important  collection,  which  forn» 
the  best  transitional  link  in  Western  Europe  between  Gothic 
Medievalism  and  the  modern  spirit.  .     .    .    ,^  ,^;.n 

The  collection  of  Modern  Sculpture,  again,  is  both  artisti- 
cally and  historically  far  less  important.  It  may  be  visited  in 
an  hour  or  two,  and  it  is  chiefly  interesting  as  bridging  the 
lamentable  gap  between  the  fine  Renaissance  work  of  the  age 
of  L  later  Valois,  and  the  productions  of  contemporary 
French  sculptors.] 

I.    ANTIQUE  SCULPTURE 
fFew  or  none  of  the  most  famous  masterpieces  of  the  great 
classical  artists  have  come  down  to  us  with  absolute  certainty 
The  plastic  works  which  we  actually  possess  are  for  the  most 


[m. 

Nik*.     On  the 
I  works,  models 
c  of  the  greatest 
n  antiquity,  have 
ry,  or  even,  save 
nch  art.    At  the 
I  a  work  for  the 
I  knowledge,  and 
ntent  to  buy  the 
jUow  closely  the 
:  in  detail  in  the 
ulpture,  such   as 

and  the  evidence 
n  of  the  various 
5rs,  are  so  much 
lose  to  enter  into 
ral  reader,  a  brief 
ntique  plastic  art, 
ery,  referring  him 
:s  on  the  subject. 
;r  hand,  is  largely 
bears  directly  on 
sest  relations  with 
s  should  therefore 
:tion,  which  forms 
)e  between  Gothic 

lin,  is  both  artisti- 

may  be  visited  in 

ig  as  bridging  the 

:e  work  of  the  age 

of   contemporary 


RE 

rpieces  of  the  great 
absolute  certainty, 
s  are  for  the  most 


111]      KEJVAISSAXCE  PARIS  {THE  LOUVRE) 

part  those  which  have  been  casually  preserved  by  accidental 
circumstances.      Almost  all  the  greatest  productions  of  the 
greatest  sculptors  have  either  been  destroyed  or  else  defaced 
beyond  recognition.    We  therefore  depend  for  our  knowledge 
of  ancient  sculpture  either  upon  those  works  which  were  situ- 
ated on  comparatively  inaccessible  portions  of  huge  buildings 
like  the  Parthenon  and  other  temples,  and  which  have  conse- 
quently survived  more  or  less  completely  the  ravages  of  time, 
the  mischief  of  the  barbarian,  and  the  blind  fury  of  early  Chris- 
tian and  Mahommedan  fanatics  ;  or  else  upon  those  which  have 
been  preserved  for  us  in  the  earth,  under  the  ddbris  of  burnt 
and  ruined  villas  and  gardens,  or  in  the  ashes  of  buried  cities 
like  Pompeii.    Under  these  circumstances,  the  wonder  is  that 
so  much  of  beautiful  and  noble  should  still  remain  to  us.    This 
is  mainly  owing  to  the  fact  that  in  antiquity  •  line  model, 
once  produced,  was  repeated  and  varied  */ «/«/f«/V«w,— much  as 
we  have  seen  at  Cluny  and  in  the  paintings  upstairs  each  prin- 
cipal scene  from  the  Gospels  or  the  legends  of  the  saints,  once 
crystallized  by  custom,  was  reproduced  over  and  over  agam 
with  slight  alterations  by  many  subsequent  artists.    The  conse- 
quence is  that  most  of  the  statues  in  this  department  fall  into 
well-marked  groups  with  other  examples  here   or  elsewhere. 
Wt  "lave  not  the  originals,  in  most  cases,  but  we  have  many 
copicA ;  and  few  of  these  copies  are  servile  reproductions  : 
more  often,  they  show  some  touch  of  the  individual  sculptor. 
The  best  antiques  are  therefore  generally  those  which  happen 
most  nearly  to  approach  in  spirit  and  execution  a  great  and 
famous  original.     (See  later,  for  example,  the  Apollo  Sauro- 
ctonos.)    You  must  compare  these  works  one  with  another,  m 
this  collection  and  elsewhere,  in  this  spirit,  recollecting  that 
often  even  an  inferior  variant  represents  in  certain  parts  the  feel- 
ing of  the  original  far  better  than  another  and  generally  finer 
example  may  happen  to  do.    Nay,  such  splendid  works  as  the 
so-called  Venus  of  Milo  itself  must  thus  be  regarded  rather  as 
fortunate  copies  or  modifications  of  an  accepted  type  by  some 
gifted  originator  than  as  nece    .irily  originals  by  the  best  masters. 
With  the  exception  of  the  few  fragments  from  the  Parthenon  by 
Pheidias  and  his  pupils,  hardly  anything  in  this  gallery  can  be 
set  down  with  certainty  to  any  first-class  name  of  the  very  best 


I. 'lb 


PA  HIS 


[III. 


look  their  origin  '--""^'"nrS^AnJ  several  are  judged 
know  the  .uM,  though  no  the    ,    a  ^^  ^^^  ^^  ^^.^^^^ 

Kw  ihi>  dcscr  pt  ons  of  ancient  wrucrs  i"  r 

^'  iuf.„i«..a  .o  sculp,™.  °' f_  ^'^^rr^H.^,,  .„d  »r 

.hich  do  no.  "»•'«" '""I'""  „d  hacked  .bou.  in  .he 
few  have  been  considerably  ""e""  "  .„ppl,ing  them  wilh 
„„„.  or  ,e..,r.uon,  »r  '<^^^  ;  r5i'„L  ^  been 
'^Str  :eccrad:jp.uch  ,.'.he  "  Vcnu.  o,  MllC 
and  the  Samothracian  Nikfc.] 

lent  Ro'«''^"r.^""/XroS^ct;    and  enter  the  Rotonde. 

good  »""P»'»«;;;themltTa  --»'''  "^  "^  ^^''^^'^^'^  ^'^ 
.hich  <^°"»-7%^°'  i'thT*  orghese  Mars  (or,  in  Greek.  Ares  . 
period  In  the  «"^'-«;/;*  *  ,^  \^^  u  ^sual  in  figures  of  this 
a  celebrated  statue,  less  v.rile    "an  ^^_^^^^^^ 

god.    Round  the  room  are  grouped  many  ta    y  g  ^^ 

'not  a  few  of  them  al-«;^"£"^  ,,^TaVne  Melpomene; 
noticed  (beginnmg  from  »*»«^'r^,"J"„p,^    gUding  from  a 

'''^'  n'-td"  etCly"  etlJuT^tle^nus  nUng  the  In- 
tree-trunk  ;  and  especially  i  sculptor  Praxiteles— 

fant  Bacchus,  of  the  ^^^^^''^l^''^^;^^^^^^  of  Faun 

perhaps  the  most  pleasing  of  the  "'^"yj^P  ^  ^„  „,.  This 
Snd  Satyr  life  which  antiquity  »>«  ^^^^^  ^^^^^^^ 
tork  should  be  studied  as  showing  ^^  J ^,,,. 
culture  when  sculpture  -'=1\;°\  J^  ^..^t  arts  and  graces 
cental,  but  -l'^"  ^^'^/X/bf  aTe  ,wo  or  three  good  draped 
was  distinctly  present.    ^  J"  J^^V  Apollo,  which  should  be 

r:;  s:;ed"ir:r^  ;£«  «^^^^^^ 

!  rrir:rSur-idei-.-»--'He™., 


[ill. 

i  to  groups  which 
10U8  sculptors  :  wc 
I  several  are  judRCtl 
I  copies  or  variants 
iiinence. 

ancc  period,  and  up 
,ve  been  freely  and 
lally  antique  heads, 
,g  to  them.  Not  a 
hacked  about  in  the 
ipplying  them  with 
■actice  has  not  been 
he  "Venus  of  Milo' 


ings.    Proceed  along 
ght  or  left,  under  the 
R,  containing  excel- 
Africa.)     Pass  some 
enter  the  Rotonde, 
s  of  i\  relatively  late 
rs  (or,  in  Greek,  Ares), 
isiial  in  figures  of  this 
ny  fairly  good  statues, 
mong  them  should  be 
R  a  fine  Melpomene ; 
jerpenl  gliding  from  a 
jilenus  nursing  the  In- 
,t  sculptor  Praxiteles— 
epresentations  of  Faun 
queathed  to  us.    This 
Iter  stage  of  easy  Greek 
jr  religious  and  monu- 
ir  direct  arts  and  graces 
o  or  three  good  draped 
.polio,  which  should  be 
ite  it,  as  indicating  the 
cas  comn\only  made  of 
lis,  a  couple  of  Hermae, 


111]      RENAISSANCE   PARIS  {THE   LOUVRE)     157 

or  heads  on  rough  bases,  in  later  imitation  of  the  archaic 
Greek  style,  with  its  curious  stiflf  simper  :  the  type  was  doubt- 
less too  sacred  to  be  varied  from :  a  portrait  statue  of  a  lady 
with  the  attributes  of  Ceres  ;  a  charming  Nymph,  carrying  an 
amphora  ;  excellent  figures  of  athletes,  etc.  Many  of  the  statues 
in  this  and  succeeding  rooms  are  much  restored,  and  in  some 
cases  with  heads  that  do  not  belong  to  them.  They  are  inter- 
esting as  showing  the  general  high  level  of  plastic  art  among 
nameless  artists  of  the  classical  period. 

The  next  room,  ♦♦the  Salle  Qrecque,  or  5alle  de  PhldlM. 
is  interesting  as  containing  a  few  works  of  the  great  artist  after 
whom  It  is  called,  as  well  as  many  specimens  of  archaic  Greek 
art,  before  it  had  yet  attained  to  the  freedom  and  grace  of  the 
age  of  Pheidias.    In  the  centre  are  fragments  of  the  early  half- 
prehistoric  figures   (6th   century  B.c.)    commonly  known  as 
Apollos,  but  more  probably  serving  in  many  cases  merely  as 
funereal  monuments -a  man  in  the  abstract,  to  represent  the 
deceased,  like  a  headstone.    They  exhibit  well  the  constrained 
attitudes  and  want  of  freedom  in  the  position  of  the  arms  and 
legs,  which  are  characteristic  of  the  earliest  epoch.     These 
very  old  features  are  still  more  markedly  seen  in  the  mutilated 
draped  Herfe  in  the  centre  ;  it  well  illustrates  the  aUrtinc<polnt 
of  Hellenic  art.    The  admirable  ♦bas-reliefs  from  Thasos  on 
the  entrance  wall,  on  the  other  hand-removed  from  a  votive 
monument  to  Apollo,  the  Nymphs  and  the  Graces,  and  still 
retaining  the  dedicatory  inscription  graven  over  their  portal,— 
exemplify  the  gradual  increase  in  freedom  and  powar  of  modelling 
during  the  early  part  of  the  5th  century  B.C.    This  improvement 
is  very  noticeable  in  the  Hermes  with  one  of  the  Graces  on  the 
first  of  these  reliefs.    Still  somewhat  angular  in  movement,  they 
herald  the  approach  of  the  Pheidian  period.    From  this  time 
forward  the  advance  becomes  incredibly  rapid. 

Kext,  examine  the  work  of  the  perfect  period.  Above  is  a 
mutilated  fragment  of  Athenian  girls  ascending  the  Acropolis  to 
present  the  hily  robe  to  Athen^,  from  the  frieze  of  the  Parthe- 
non, of  the  great  age  of  Pheidias  (not  a  century  later  than  these 
archaic  attempts) :  with  portions  of  a  Metope  of  the  same 
temple.  The  first  may  be  possibly  by  Pheidias  himself :  the 
second  by  his  pupil  Alcamenes.     Close  by,  Metope  of  the 


!►   I 


temple  of  Zeu5  .t  Olympla  (about  45°  b.c.).  *'»»°«  ^"^J^^'J 
are  surficiently  indicated  on  the  labels:  almost  equal  in  power 
"the  A  henian  examples.    The  fine  bas-relief  of  Orpheus  and 
Eurydice,  of  the  best  period  (falsely  named  abo..,  later)  shou  d 
a  Jbe  Observed.    (But  the  works  of  the  archaic  and  trans, 
tional  periods  are  far  better  exemplified  at  Mun.ch  and  m 
rndon  ;  while  the  fragments  of  Pheidias  cannot  of  course  com- 
pare witk  the  magnificent  series  in  the  Br.ush  Museum.    See 
L  copies  of  both  in  the  tcole  des  Beaux  Arts.)    By  the  next 
wTndow.  lion  and  bull,  s  ,mewhat  recalling  remote  Assynan 
rnfluence  ;  with  numerous  small  reliefs  of  the  best  age,  wh.ch 
should  be  carefully  studied.    These,  for  the  most  part  of  the 
fines  early  workmanship,  admirably  illustrate  the  extraordinary 
outburst  of  artistic  spirit  during  the  age  -^.ch  succeeded  the 
Tars  with  Persia.    The  reliefs  on  the  end  wall,  ch.efly  from 
SenTand  the  Pir^us,  as  well  as  those  by  the   ast  wmdow. 
Wong  in  .-.St  instances  to  this  splendid  age  of  awakenmg 
S  culminating  art-faculty.    I  do  not  enumerate,  as  the  label 
suffice  ;  but  every  one  of  the  works  in  th.s  room  should  be 
dosely  followed      Do  not  miss  the  charming,  haW-archaic, 
funereal  relief  of  Philis,  daughter  of  Cleomedes.  from  Thasos. 

Snue  on  through  the  Lor.g  Gallery,  flanked  by  menor 
works-but  what  splendid  inferiority  !-to  the   room  of  the 
rJdea  sarcophagus,  a  fine  stone  tomb,  contammg  scenes 
?om  thcTegend  of  Medea  and  the  children  of  Jason.    Round 
he  room  are  grouped  several  small  statues,  much  restored 
Sleed,  and  not  of'the  best  period,  but  extremely  charmmg^ 
The  most  noticeable  is  the  dainty  little  group  of  the  Three 
Graces  characteristic  and  pleasing,  though  with  modern  heads. 
Se  nexfcompartment-that  of  the  Hermaphrodlte-mcludes 
Ine  of  the  besi  and  purest  of  the  many  versions  of  th.s  .avounte 
Se  t  f  orn  Velletri.  couched,  by  the  window^  (Another  m  the 
sS;   Caryatides,  for  comparison.)    The  Famese  Eros  .s  a 
pr  tl  work  o5  a  late  period.    The  room  also  possesses  severa 
works  If  the  Satyr  class,  two  of  which,  close  by.  are  useful  as 
nstances  of  repetition.    The  four  statues  of  Venus  (Aphrod.t^). 
aMie  four  corners  (in  two  closely  similar  pairs)  are  also  ve^ 
?nt«esting  in  the  same  manner,  being  variants  based  upon  one 
or  g  nrmodel.  closely  resembling  one  another  m  the.r  general 


1 


[III. 

B.C.),  whose  subjects 
Itnost  equal  in  power 
relief  of  Orpheus  and 
labo.'?,  later)  should 
:  archaic  and  transi- 

at  Munich  and  in 
:annot  of  course  com- 
;ritish  Museum.  See 
X  Arts.)  By  the  next 
ing  remote  Assyrian 
if  the  best  age,  which 
the  most  part  of  the 
rate  the  extraordinary 

which  succeeded  the 
nd  wall,  chiefly  from 
e  by  the  last  window, 
lid  age  of  awakening 
mmerate,  as  the  labels 

this  room  should  be 
harming,   half-archaic, 
medes,  from  Thasos. 
sry,  flanked  by  inferior 
-to  the   room  of  the 
mb,  containing  scenes 
dren  of  Jason.     Round 
tatues,  much  restored, 
It  extremely  charming, 
le  group  of  the  Three 
igh  with  modern  heads. 
rmaphrodlte— includes 
rersions  of  this  favourite 
indow.    (Another  in  the 
The  Famese  Eros  is  a 
n  also  possesses  several 
,  close  by,  are  useful  as 
es  of  Venus  (Aphrodit^), 
nilar  pairs)  are  also  very 
variants  based  upon  one 
another  in  their  general 


11. ]       RENAISSANCE  PARIS  {THE  LOUVRE)      1 59 

features,  but  much  altered  in  the  accessories  and  details.  The 
same  may  be  said  of  the  good  figures  of  Athenfe  by  the  far 
wall. 

The  Hall  of  the  Sarcophagus  of  Adonis  contains  several 
excellent  sarcophagi,  the  reliefs  on  which  well  illustrate  the 
character  of  the  class  ;  among  them,  one  to  the  L  has  interest- 
ing reclining  figures  of  its  occupant  and  his  wife,  an  early 
motive,  late  repeated.  The  relief  from  which  the  room  takes 
its  name,  on  the  wall  to  the  right,  represents,  in  three  scenes, 
the  departure  of  Adonis  for  the  chase  ;  his  wounding  by  a  wild 
boar ;  and  Aphrodite  mourning  over  the  body  of  her  lover. 
Such  reliefs  afforded  important  hints  in  mediaeval  times  to  the 
sculptors  who  first  started  the  Renaissance  movement.  As  we 
pass  into  the  next  compartment,  notice  another  variant  of  the 
Aphrodite. 

The  Salle  de  Psych6  contains,  opposite  the  window,  the 
famous  figure  from  which  it  takes  its  name  (too  much  restored 
to  be  freely  judged)  :  together  with  two  characteristic  dancing 
Satyrs,  after  models  of  the  school  of  Praxiteles.  The  fine 
sculptured  chairs  of  office  by  the  window  should  also  be  noticed. 

We  now  come  to  the  Hall  of  the  so-called  Venus  of  Mllo— 
an  absurd  mistranslation  of  the  French  name :  the  idiomatic 
Enghsh  would  be  either  "the  Melos  Venus,"  "the  Melian 
Venus,"  or,  better  still,  "  the  Melian  Aphrodite."  This  is  un- 
doubtedly the  finest  plastic  work  in  the  whole  of  the  Louvre. 
Its  beauty  is  self-evident.  It  was  found  in  1820  in  the  island  of 
Melos  in  the  Greek  Archipelago.  The  statue  is  usually  held 
to  represent  the  Greek  goddess  of  love,  and  is  a  very  noble 
work,  yet  not  one  by  a  recognised  master,  nor  even  mentioned 
by  ancient  writers  among  the  well-known  statues  of  antiquity. 
Nothing  could  better  show  the  incredible  wealth  of  Greek 
plastic  art,  indeed,  than  the  fact  that  this  exquisite  Aphrodite 
was  produced  by  a  nameless  scjlptor,  and  seems  to  have  been 
far  surpassed  by  many  other  works  of  its  own  period.  In  type, 
it  belongs  to  a  school  which  forms  a  transition  between  the 
perfect  early  grace  and  purity  of  Pheidia«,  with  iiis  pupils,  and 
the  later,  more  self-conscious  aM  deliberate  style  of  Praxiteles 
and  his  contemporaries.  Not  quite  so  pure  as  the  former,  it  is 
free  from  the  obvious  striving  afte*  effect  m  the  latter,  and 


i6o 


PARTS 


[m. 


iti 


from  the  slightly  affected  prettinesses  well  illustrated  here  m  the 
group  of  Silenus  with  the  infant  Bacchus.    The  famous  series 
of  Niobe  and  her  Children,  in  the  Uffizi  at  Florence  (duplicates 
of  some  elsewhere),  exhibits  much  the  same  set  of  character- 
istics    Those  works  have  been  attributed  on  reasonable  grounds 
to  Scopas,  a  contemporary  of  Demosthenes  :  and  this  statue  has 
therefore  been  ascribed  with  little  hesitation  to  one  of  ...s  pupils. 
It  is'  however,  purer  in  form  than  the  Niobe  series,  and  exhibits 
the  perfect  ideal,  artistic  and  anatomical,  of  the  beautiful,  healthy 
nude  female  form  for  the  white  race.   Its  proportions  are  famous. 
As  regards  the  missing  portions,  which  have  happily  not  been 
conjecturally  restored,  it  was  originally  believed  that  the  left 
hand  held  an  apple  (the  symbol  of  Melos),  while  the  r>g.u 
supported  the  drapery.     It  is  more  probable,  however,  that  the 
figure  was  really  a  Nik&  (or  Victory)  and  that  she  grasped  a 
shield  and  possibly  also  a  winged  figure  on  an  orb.    Comparison 
with  the  other  similar  half-draped  nude  statues  described  as 
Venuses  in  the  adjoining  rooms  is  very   instructive  :    their 
resemblances  and  differences  show  the  nature  of  the  modifica- 
tions from  previous  types,  while  the  immense  superiority  of  this 
to  all  the  rest  is  immediately  apparent.     Notice  in  particular 
the  exquisite  texture  of  the  skin  ;  the  perfect  moderation  of  the 
form,  which  is  well  developed  and  amply  covered,  without  the 
faintest  tinge  of  voluptuous  excess,  such  as  one  gets  in  late 
work  •  and  the  intellectual  and  moral  nobility  of  the  features. 
No  object  in  the  Louvre  deserves  longer  study.     It  is  one  of  the 
finest  classical  works  that  survive  in  Europe. 

Pass  to  the  R  into  the  next  suite  of  rooms,  the  first  of  which 
contains  the  colossal  figure  of  Melpomene,  the  tragic  muse- 
a  splendid  example  of  this  imposing  type  of  antique  sculpture 
so  well  represented  in  the  Vatican.  Round  the  room  are  ranged 
several  minor  works,  including  a  charming  Flute-Player,  doubt- 
fully restored,  and  some  excellent  busts. 

The  long  series  of  rooms  which  follows  this  one  coma.ns 
in  many  cases  Gra-co-Roman  works,  imitated  from  the  great 
Greek  models,  and  often  showing  more  or  less  decadent  spirit. 
Among  them,  however,  are  some  of  the  finest  specimens  ot 
ancient  sculpture,  Greek  included  :  and  indeed  it  must  be 
admitted  that  the  grounds  upon  which  such  Greek  works  are 


[III. 

itrated  here  in  the 
rhc  famous  series 
Drence  (duplicates 
set  of  character- 
;asonable  grounds 
nd  this  statue  has 
)  one  of  Ills  pupils, 
leries,  and  exhibits 
■beautiful,  healthy 
jrtioas  are  famous, 
happily  not  been 
eved  that  the  left 
i),  while  the  rlgiu 
however,  that  the 
hat  she  grasped  a 
\  orb.    Comparison 
itues  described  as 
instructive  :    their 
re  of  the  modifica- 
!  superiority  of  this 
otice  in  particular 
t  moderation  of  the 
avered,  without  the 
s  one  gets  in  late 
lity  of  the  features, 
iy.     It  is  one  of  the 

8,  the  first  of  which 
,  the  tragic  muse — 
f  antique  sculpture, 
the  room  are  ranged 
Flute-Player,  doubt- 

s  this  one  contains 
ited  from  the  great 
less  decadent  spirit, 
finest  specimens  ot 
indeed  it  must  be 
ch  Greek  works  are 


111]       liENAISSAXCE   PARIS  {THE  LOUVRE)      161 

distinguished  by  experts  from  later  copies  are  often  sufficiently 
delicate  and  inferential.  Centre,  a  beautiful  Genius  of  Sleep. 
Behind  it,  good  figures  of  Eros  (Love)  drawing  his  bow,  again 
indicating  the  nature  of  the  replicas  and  variations  of  estab- 
lished models  which  were  so  familiar  to  antique  sculptors.  The 
little  mutilated  fragment  by  their  side,  well  placed  here  for 
comparison,  cxi  ellently  illustrates  the  nature  of  the  evidence 
on  which  such  works  are  frequently  restored.  Further  on— a 
Venus,  wnichi  riant  (probably  Roman)  of  the  type  of  the 

Venus  of  Aries,  jut  beyond  it.  Behind  this,  a  little  in  front 
in  the  room,  the  noble  *Pallas  from  Velletri — the  finest  and 
most  typical  representation  of  the  goddess :  a  good  Roman 
copy  of  a  Greek  work  of  the  best  period.  Then  the  famous 
♦Venus  of  Aries  itself,  a  Greek  original,  which  may  be  in- 
structively compared  w.;b  the  replica  or  variant  close  to  it. 
(The  labels  well  indicate  to  the  student  who  cares  to  proceed 
further  in  this  study  the  extent  of  the  restorations  in  every 
case.)  This  figure,  after  the  .  lelian  Aphrodite,  is  probably  the 
most  beautiful  female  form  in  the  entire  collection.  Behind 
it,  the  graceful  and  exquisitely-draped  Polyhymnia  (replica  of 
a  well-known  type),  a  model  of  perfect  repose  and  culture,  but 
largely  modern.  Then,  good  bust  of  Homer.  Next,  the  *ApoHo 
Sauroctonus  or  Lizard- Slayer,  a  copy  in  marble  of  a  famous 
work  in  bronze  by  Praxiteles.  This  is  once  more  one  of  the 
many  reproductions  (not  necessarily  always  actual  copies)  of 
types  which  are  mentioned  by  classical  authors.  By  the  arch- 
way, Euterpe,  and  a  Votary.  Among  the  sarcophagi,  one  of 
Actaeon  torn  b'-  his  dogs  :  another  representing  the  Nine 
Muses.  Most  ol  the  figures  in  this  room  are  marked  by  a  calm 
and  classical  repose  ;  while  t       p  in  the  next  compartment, 

The  Salle  du  H^ros  Combaomt,  indicate  in  many  cases 
a  later  tendency  to  rapidity  of  motion  and  violent  action,  which 
is  alien  to  the  highest  plastic  ideal.  Among  the  most  successful 
works  of  this  group  is  the  light  and  airy  Atalanta,  under  the 
archway, — a  beautiful  figure  of  a  young  girt,  running,  caught 
at  the  most  exquisite  statuesque  moment.  Near  it,  a  fine  Venus 
Genetrix.  By  the  window,  admirable  figure  of  a  wounded 
Amazon.  Next  window,  the  celebrated  BorgJKrse  Centaur  and 
Bacchus,  a  charming  realization  of  this  mythological  concep- 

L 


»» 


1 


.11! 

v\ 


Ib2 


PARIS 


[III. 


tion.    Note  the  playfulness  of  developed  Greek  fancy.    The 
centre  of  the  room  is  occupied  by  a  powerful  and  anatom.caUy 
admirable  figure  of  a  Fighting  Hero  (formerly  called  a  Gladi- 
ator), by  Agasias  of  Ephesus,-one  of  the  few  statues  here  on 
which  the  sculptor  has  inscribed  his  name.    It  .s  a  tr.umph 
of  its  own  "active"  type  of  art  (where  movement  and  hfe  are 
aimed  at),  but  wholly  lacking  in  beauty  or  ideali  y.    ^t  belongs 
'o  the  age  of  Augustus  or  a  little  earlier.    Behmd  .t,  Marsyas 
flayed  alive,  a  repetition  of  a  frequent  but  unpleasant  subject. 
Centre  again,  the  Faun  of  Vienne,  a  young  satyr,  retammg 
traces  of  colour,  vigorous  and  clever.    Then,  **exqu.s.te  .deal 
statue  of  a  young  girl  fastening  her  cloak,  commonly  but  incor- 
rectly known  as  the  Diana  of  Gabii ;  for  simple  domestic  grace 
this  dainty  work  is  unrivalled.     It  is  probably  of  the  age  o 
Alexander  the  Great  :  and  is  well  worth  study.    It  almos 
suggests  the  Italian  Renaissance.    By  the  archways,  a  Hermes 
known  as  the  Richelieu  Mercury,  with  a  closely  similar  repl.ca. 
Under  the  archway  leading  to  the  next  room,  fine  portrait 
statue  of  the  age  of  Hadrian,  representing  Antinous,  the  Em- 
peror's favourite,  in  the  guise  of  Arist^us,  the  mythical  hero 
of  agriculture:  the  features  are  much  less  beautiful  than  m 
most  other  instances  of  this  well-known  face,  several  examples 
of  which  occur  later.    Such  representations  of  historical  char- 
acters in  the  form  of  gods  or  mythical  heroes  were  common 
at  Rome  :  probably  in  most  cases  the  sitter's  head  and  figure 
were  accommodated  or  adapted  to  a  well-known  model. 

The  Salle  du  TIbre,  which  we  next  enter,  contains  in  its 
centre  the  celebrated  figure  of  *Artemis  (Diana)  known  as 
-  Diane  k  la  Biche  »  or  the  "  Diane  de  Versailles,"  one  of  the 
antique  statues  acquired  by  Francois  I",  the  influence  of  which 
on  later  art  will  be  very  distinctly  felt  when  we  come  to  examine 
the  French  sculpture  of  the  Renaissance.     It  is  a  charming, 
graceful,  and  delicate  figure  of  the  age  of  dechn.ng  art,  exactly 
adapted  to  take  the  French  fancy  of  that  awakening  period. 
Twas  probably  executed  at  Rome  by  a  Greek  sculptor  abou 
the  time  of  Julius  C^sar.    At  the  end  of  the  room    colossa^ 
recumbent  figure  of  the  Tiber,  represented  as  the  benignant 
Father  Tiber  of  Rome,  bearing  the  oar  which  symbohzes  the 
navigable  river,  and  the  cornucopia  denoting  the  agricultural 


Umm 


[III. 


m.]      RENAISSANCE  PARIS  {THE  LOUVRE)      163 


reck  fancy.  The 
and  anatomically 
ly  called  a  Gladi- 
H  statues  here  on 
It  is  a  triumph 
ment  and  life  are 
:ality.  It  belongs 
Jehind  it,  Marsyas 
npleasant  subject, 
ig  satyr,  retaining 
I,  **exquisite  ideal 
mmonly  but  incor- 
ple  domestic  grace 
ibly  of  the  age  of 

study.  It  almost 
rchways,  a  Hermes 
5ely  similar  replica, 
room,  fine  portrait 
Antinous,  the  Em- 

the  mythical  hero 
s  beautiful  than  in 
e,  several  examples 
5  of  historical  char- 
roes  were  common 
;r's  head  and  figure 
jown  model. 
Iter,  contains  in  its 

(Diana)  known  as 
;rsailles,"  one  of  the 
e  influence  of  which 
we  come  to  examine 
It  is  a  charming, 
declining  art,  exactly 
,t  awakening  period. 
}reek  sculptor  about 
f  the  room,  colossal 
;d  as  the  benignant 
?hich  symbolizes  the 
)ting  the  agricultural 


and  commercial  wealth  of  the  Tiber  valley  :  by  its  side  nestles 
the  wolf,  with  Romulus  and  Remus  ;  a  pretty  allegorical  con- 
ception of  Rome  and  the  stream  which  made  it :  itself  doubt- 
less a  pendant  to  the  similar  recumbent  figure  of  the  Nile  in 
the  Vatican.  Close  by,  two  Satyrs,  imitated  from  Praxiteles. 
Behind,  four  Satyrs  as  Caryatides,  from  the  theatre  of  Dionysus, 
Athens,  3rd  cent.  B.c.  Round  the  wall,  good  draped  figures 
of  goddesses.  Walk  through  these  rooms  often,  in  order  to 
gain  an  idea  of  the  astonishing  wealth  and  purity  of  Hellenic 
sculpture. 

Now,  return  through  the  Salle  Grecque  and  the  Rotonde, 
and  turn  to  the  L  into  the  Roman  Qalleries,  which  contain 
for  the  most  part  statues  and  busts  of  the  imperial  epoch. 

In  the  first  room  are  reliefs  of  sacrifices,  and  fronts  of  sar- 
cophagi, together  with  a  fine  portrait-statue  of  Sulla.  By  the 
second  window,  the  famous  and  noble  head  of  Maecenas,  the 
great  Etruscan  statesman  and  minister  of  Augustus,  who  prac- 
tically organised  the  Roman  Empire.  The  astute  features, 
very  Tuscan  in  type,  which  in  some  degree  recall  those  both 
of  Bismarck  and  Moltke,  are  full  of  practical  vigour  and  the 
wisdom  of  statecraft.  A  more  characteristic  or  finer  head  has 
not  been  bequeathed  to  us  by  antiquity.  Contrast  this  mag- 
nificent and  thoughtful  bust  of  the  best  Roman  age,  instinct 
with  meaning,  with  the  coarse  and  coarsely-executed  colossal 
head  of  Caracalla,  the  cruel  and  sensuous  Emperor  of  the 
decadence,  in  the  next  window, — as  crude  as  a  coarse  litho- 
graph. In  the  corner,  a  Mithra  stabbing  a  bull,  of  a  class  to 
be  noted  again  in  greater  detail  later.  By  the  passage  into  the 
next  room,  masks  of  Medusa  with  the  snaky  hair. 

Walk  straight  through  the  following  rooms,  without  stopping, 
till  you  arrive  at  the  Salle  d'Auguste  on  the  right,  at  the  end, 
so  as  to  take  the  works  in  historical  sequence.  This  hall  is  the 
first  in  chronological  order  of  the  Roman  period.  It  contains 
pjrtrait-statues  and  busts  of  the  Julian  Emperors  and  their 
families,  and  of  the  Flavian  dynasty.  Begin  down  the  centre. 
*Bust  of  Julius  CcEsar,  indicating  well  the  intellectual  character 
and  relentless  will  of  the  man  :  a  speaking  likeness.  Next  to 
it,  the  famous  **Antinous  (eyes  removed  ;  once  jewels),  a  much 
idealised  colossal  portrait-bust  of  the  beautiful  young  favourite 


i64 


PARIS 


tut. 


of  the  Emperor  Hadrian,  who  droned  himseir  in  tl^Ue  in 
order  to  become  a  protecting  Sf^^/"' J^'J^  7a  ntly  remin- 
represented  in  a  grave  and  ng.d  style  '^'i^^J^^'oT  Bacchus  or 
iscentof  Egyptian  art,  and  7»^;^f  .^"^^^^^^  erected  a 

(more  correctly)  Osins ;  «=»<»"*"  f'^.j^^  after 

emple  in  his  honour  in  a  town  «>  ESVP^  ^J^  ^^  ^^^^  ^rait- 
him  Observe  the  lotus  «"»-"«*'"'*',  ^J^^'^sar  one  of  the 
statue  of  a  Roman  <>"»7'  P^J'f  ^  j"  ^  ,f  revTved  Greek  art 
best  works  of  its  class  of  the  best  penod  ^^ '^^  ^he 

under  the  early  Roman  ^^^  ^If/f,!,^^^^^^^^^^^ 

figure  is  that  <=°"^?"»'°"^"y  """^I'^^^^^^^  builder  of  the 

Pan  hcon    full  ^J^l\         ^^^^  ^ut  beautiful  •  Romulus  and 
emp.re.    '^^^l''^^l''°^'^^„  the  tribune,  famous  *portra.t- 

r^orA^xrve.  nob.  ^^:^^^x:r^ 

b    two  good  Po--^^^^^  ^^rToman  bois  of  the 

Th'ey  -arthe  golden  buUa  round   h^^^^^  ^^^^^^^^,^ 

ltictn"°  WinSis  tl"™^^^^^^^  o?  ^^^^^^^^^^J^^, 

fully.    Then,  a  most  mahgnant  Nero.  w,tn  j  ^^^ 

further:  a  Messahna.  ^"^^^J^'^^l  :\,^,,^  Galba,  in 
reputation;  a  grandiose  ^laudms  '  ana  ^^^^^^^^ 

whom  we  begin  to  see  traces  of  ^^^^^^Jorio^s  Otho;  stiU  fine 
struggle  for  empire.  Near  ^^^LZ^^  the  women.  All 
and  classical.    Not.ce  the  da.nty  profiles  oi  ^^^ 

,he  statues  and  busts  '^X^l^^r^ctLZ^^^^^^ 
fine  classical  sp.nt,  w.th  "°  t';^/  °;^;;*      ,,J.cut  Roman 
Most  of  them  have  the  od  ^  °^^^f/;^^^^^^^^  types 

features   -nt-f  g  st^^^^^^^^^^^  so  good, 

we  shall  ^eejatej^^  J,5^  '%-  n  ^^^    ^^^^^  ^^^^^^^,^  ^    jness- 

of  the  «^°-'^^^^^""^'^^^^^        and  one  or  two  less  satisfactory 
"^^^Z^T^  C.'sar.    Observe  even  already  how 


"1^1 


[in. 

f  in  the  Nile  in 
tron  ;  lie  is  here 
It  faintly  remin- 
s  of  Bacchus  or 
I  and  erected  a 
1  he  named  after 
.    Fine  portrait- 
;csar,  one  of  the 
evived  Greek  art 
Cleomenes.    The 
rmes  or  Mercury, 
ind  builder  of  the 
•istics  of  the  early 
Ful  •  Romulus  and 
famous  *portrait- 
on.     It  is  flanked 
)r  himself,  and  of 
Loman  boys  of  the 
ible  in    execution, 
cks,  which  marked 
es  are  thoroughly 
le  imperial  Uu^'^" 
i,  Drusus  and  Ger- 
traces  of  Caesarian 

Study  these  care- 
ess  unpleasant  ones 
of  face  belies  her 
i  selfish  Galba,  in 
(reduced  by  ruthless 
ious  Otho,  still  fine 
of  the  women.  All 
are  conceived  in  the 

coming  decadence, 
n,  clear-cut  Roman 
eaker,  bearded  types 
statues,  not  so  good, 
,  practical,  business- 
r  two  less  satisfactory 
ve  even  already  how 


in.]      REJVAJSSAXCE  PARIS  {THE  LOUVRE)     I65 

both  types  and  art  begin  to  show  less  perfect  finish.    The  men 
are  more  vulgar :  the  artists  less  able. 

The  Saile  des  Antonins,  text,  contains  a  fine  series  of  busts 
and  statues  of  this  second  prosperous  epoch  of  the  empire. 
Facing  the  river,  a  very  noble  seated  portrait-statue  of  Trajan, 
contrasting  well  with  the  other  more  decadent  emperors  at  the 
further  end.  We  have  here  still  the  old  Roman  severity,  and 
the  close-shaven  type,  admirably  opposed  to  the  more  sensuous 
degenerate  faces  further  on,  which  herald  the  decadence. 
These  are  the  builders-up,  the  others  the  destroyers,  of  a  great 
empire.  In  the  corner  close  by,  two  erect  Trajans.  Notice 
how  clear  an  idea  of  the  personalities  of  the  emperors 
comparison  of  these  statues  and  busts  affords  one.  Close  to 
the  archway,  a  beautiful  Faustina  Junior,  one  of  the  loveliest 
portrait-busts  of  the  second  Roman  period.  Further  on, 
bearded  and  weaker  emperors  of  the  Antonine  age  ;  among 
them,  a  capital  Lucius  Verus,  holding  the  orb  of  empire. 
Near  it,  a  fine  statue  of  the  philosophic  emperor,  Marcus 
Aurelius,  seen  here  rather  as  the  soldier  than  as  the  sage. 
In  the  centre — the  same  emperor  nude — or  rather,  a  nude 
figure,  on  which  his  head  has  been  placed  by  a  modern 
restorer.  By  the  middle  window,  colossal  busts  of  Lucius 
Verus  and  Marcus  Aurelius,  and  a  very  big  head  of  Lucilla, 
wife  of  the  former.  These  all  deserve  study,  by  comparison 
with  the  simpler  and  nobler  types  of  the  Julian  period. 

The  Salie  de  Severe— age  of  the  early  decadence — contains 
in  the  centre  a  fine  statue  of  the  Emperor's  mother,  Julia 
Mammaea,  figured  after  the  common  fashion  as  Ceres — a  half 
deification.  Near  it,  another  (less  pleasing)  bust  of  Antinous. 
Excellent  statue  of  Pertinax.  Round  the  walls,  portrait- busts 
of  the  Antonine  family  and  their  successors,  in  sufficient 
numbers  to  enable  one  to  form  clear  conceptions  of  their 
personality.  This  is  especially  the  case  with  Caracalla  and 
Plautilla  by  the  last  window  ;  Septimius  Severus  himself— a 
weak  lace,  gaining  somewhat  with  age ;  and  Lucius  Verus, 
selfishly  vicious,  with  a  distinct  tinge  of  conscious  cruelty. 
Near  the  last,  a  fine  portrait-statue  of  Faustina  Senior. 
Beside  it,  pleasing  bust  of  the  boy  Commodus ;  his  subse- 
quent   development    may   be  traced    round  the  rest  of  the 


^1^^ 


IJ 


l66 


PARIS 


the  same  faces  occur  with  the.r  names-most  mterestmg 
comparison  ^.^^^   ^^,^^^  ^^^e  of 

of   Minerva  in  red  porphyry,  the   ««^   P°";°"'^^^  ^j^dow, 
have  been  restored  in  «»'  J^^^^^j^..^^^^^  Piu^ 

the  Emperor  T.tus  ^^^'^^^^^'^J^l^^a  classical  example 

of  Pupianus,  less  successful.    In  many  oi  mes 
decadence  triumphs.  .       j  ^^^ 

«-u      a.iio   Ha«   Aaisons  contams    busts,    mosny    " 
The   Salle  dcs  *»'«>»»  .^^  ^  seml-barbarlc  tinge, 

extreme  decadence,  and  wo-^^J J*""  ^^e  last  traces 

The  bust  of  Honorius,  by  the  far  door  shows^ne 

of  classical  work  rapidly  passmg  '"'»  B^^"""";  ^'^a  general 

!.•_    «f    fVipir    own  local  deities  •    me    tun    w         » 
worsh  p    of    *'»;  ""T  a,  „„pe,ed  with  ChnstUn- 

Setapis,  at.d  of  other  !'»f'<'™  «"  '        „,,„  intrusive 

i„  ,„t  the  masuo-  of  ^^f^^^j^;:;  „.  .„„hip  of 


cs 
a^ 

P' 
si 
B 
fr 
tY 
tV 
tl 
tl 
C 

01 

ai 
st 
w 
la 
tl 
b( 
C 

S( 

R 

a| 
w 
w 
ei 

g> 
sc 
la 
iti 
w 

Ji 
si 
G 
e] 

C 

b' 


"W 


red  by  the  light 

of  coins,  where 

interesting  for 

woiks,  some  of 
1,  a  good  figure 
tions  of  which 
By  the  window, 

Gordianus  Pius 
lassical  example 

wife,  and  nude 
ihese  works  the 

mostly  of  the 
[.barbaric  tinge, 
s  the  last  traces 
tine  stiffness  and 
yes  and  general 
us,  opposite  him, 
ifferent  direction, 
iric  Romanesque 
next  to  Honorius. 
from  sarcophagi. 
;  trousers,  is  a  fine 
ember  of  an  alien 
a  of  the  Capitol, 
jns   of  the    same 
efs  are  extremely 
the  later  Empire, 
rded  with  Syrians, 

Orientals.  Many 
the  Provinces  the 
;  cult  of  Isis,  of 
:ed  with  Christian- 
ng  these  intrusive 
IS   the  worship   of 

from   Persia,  and 
e  Black  Sea.    The 

in  an  underground 


RENAISSAIVCE  PARIS  {THE  LOUVRE)     167 


cave,  stabbing  a  bull ;  he  was  regarded  as  a  personification  or 
avatar  of  the  Sun  God.  His  worship  spread  rapidly  to  every 
part  of  the  Roman  world,  and  was  immensely  popular : 
similar  reliefs  have  been  found  in  all  Romanized  regions  from 
Britain  to  North  Africa.  The  best  of  those  in  this  room  comes 
from  the  cave  of  Mithra  in  the  Capitol  at  Rome  itself,  where 
the  eastern  god  was  permitted  even  to  invade  the  precincts  of 
the  Capilojine  Jupiter.  Notice  the  barbaric  Oriental  dress  and 
the  voluptuous,  soft  Oriental  treatment ;  also,  the  action  in 
the  cave,  and  the  personages  on  the  upper  earth  above  it. 
Compare  all  these  reliefs  with  one  another,  and  notice  their 
origin  as  given  on  the  labels.  Observe  also  the  close  similarity 
and  religious  fixity  of  the  representations.  They  should  be 
studied  with  care,  as  illustrative  of  the  conflict  of  new  religions 
with  old  in  the  Roman  Empire,  out  of  which  Christianity  at 
last  emerged  triumphant.  Their  number  and  costliness  shows 
the  strength  of  this  strange  faith  ;  their  inferior  art  betokens 
both  eastern  influence  and  the  approach  of  the  decadence. 
Compare  the  Oriental  tinge  in  the  Mithra  reliefs  with  that  of 
some  Early  Christian  works  in  the  small  Christian  room  of  the 
Renaissance  Sculpture. 

In  the  centre,  Roman  husband  and  wife,  in  the  characters  of 
Mars  and  Venus,  an  excellent  and  characteristic  group  of  the 
age  of  Hadrian  ;  contrast  the  somewhat  debased  proportions 
with  those  we  have  seen  in  the  best  Greek  period.  Round  the 
wall  and  by  the  windows,  many  inferior  portrait-busts  of 
emperors  of  the  decadence  ;  observe  their  dates,  and  note  the 
gradual  decrease  in  art  and  truth,  and  the  slow  return  to 
something  resembling  archaic  stiffness.  We  have  thus  fol- 
lowed out  the  rise  and  culmination  of  antique  art,  and  watched 
its  return  to  primitive  barbarity.  Conspicuous  among  the 
works  of  the  better  age  here  are  the  charming  features  of 
Julia  Mammaea,  wife  of  Alexander  Severus,  especially  as 
shown  in  the  bust  nearest  to  the  first  window.  The  fine 
Germanicus,  holding  the  orb  of  empire,  is  also  an  excellent 
example  of  the  portrait  nude  of  the  best  period. 

Leave  this  portion  of  the  Museum  by  tlie  5alle  des 
Caryatides  beyond,  so  called  from  the  famous  Caryatides 
by   Jean    Goujon    (French    Renaissance ;    see   later),  which 


^.-i* 


m 


i68 


PARIS 


[III. 


support  the  balcony  at  it.  further  rnd-very  noble  cxampUs  of 
the  revived  aniiquc  of  the  age  of  Franc;o,s  I"-majest.c  m 
heir  serely     Above  them  is  a  cast  from  Cellini's  Nymph 
SFonrn  bleau.  .o  be    noticed  late.     The   room  conta.ns 
good    Greek   and  Roman  work  of   the   -l--aUnK   per^ods^ 
in  the  vestibule  to  the  u,  by  the  window,  the  *Do.i;hese 
HV.!;:phrole.  .  variant  on  the  VeUeU  i  type.  voluptuou.  a.u 
rounded,  belonging  to  the  latest  Greek  pcr.od ;  the  matt^ss 
was  added  (with  disastrous  effect)  by  Bernmi.     In  the  body 
Of  the  hal     colossal    Jupiter    of   Versailles,    an    .mpress.ve 
Hermes-fiRure.    To  the  i-,  noble  and  characteristic  •Den  os- 
Em  the  cnt...  Hermes  and  Apollo  of  the  Sclu..l  of 
Praxiteles:  boy   fastening  his  sandals,     D.onr.,.s.  known  as 
he  K    hcl'eu  Bacchus.     By  the  right  wall.  Aphrodui  at  t  e 
bath,    n  a  crouching  attitude,  a  nymph  is  supposed  to  be 
pour  np    ■  ater  over  her.    All  the  works  in  this  room  deserve 
examin       n  ;  they  are  sufficiently  described,  however,  by  the 

a.    RENAISSANCE  SCULPTURE. 

[This  collection,  one  of  the  most  important  and  interestmg 
among  the  treasures  of  the  Louvre,  occupies  a  somewhat  un- 
obtrusive suite  of  rooms  on  the  Ground  Floor,  and  .s  therefore 
too  little  visited  by  most  passing  tourists.     It  con  tarns  three 
separate  sets  of  plastic  work:    first,  sculpture  of  the  Italian 
Renaissance,  on  which  the  French  was  mainly  based  ;  second, 
s%ture  of  the  Middle  Age.  in  France,  leading  gradually  up 
to  the  age  of  Franqois  I",  and  improving  as  ,t  goes,  though 
uninfluenced  as  yet  by  external  models -.th.rd,  and  most  mv 
portant  of  all,  in  Paris  at  least,  the  cxqu.s.te  sctdpture  of  the 
French  Renaissance,   a  revolt  from  medievalism,  inspired 
Trom  above  by  kings  and  nobles,  based  partly  on  direct  study 
of  the  antique   (many  specimens  of  which  were  brough    to 
France  by   Franqois   I"),  but  still   more   large  y  on   Italian 
miels  made  familiar  to  French  students  through  the  work  ot 
^r^sts  uTvited  to  the  Court  under  the  later  Valo.s,  as  well  as 
n^h  the   ItaUan  wars  of  Charles  VIII,  Louis  XII   and 
Francois  I"  (of  which  last  more  must  be  said  when  we  visit  St. 
Denis)     At  least  one  whole  day  should  be  devoted  by  every 
one  to  this  fascinating  collection :  those  who  can  afford  the 


III.J      RENAISSANCE  PARIS  {THE  LOUVRE)      169 


le  examples  of 
" — majestic  in 
ellini's  Nymph 
room  contains 
latinK   periods, 
the  *Doi-;hese 
voluptuous  anil 
;  the  mattress 
.    In  the  body 
an    impressive 
iristic  •Deinos- 
f  the  School  of 
(sus,  known  as 
phroditt  at  the 
supposed   to   be 
s  room  deserve 
however,  by  the 

RE. 

and  interesting 
a  somewhat  un- 
,  and  is  therefore 
[t  contains  three 
■e  of  the  Italian 
y  based  ;  second, 
ling  gradually  up 
5  it  goes,  though 
•d,  and  most  im- 

sculpture  of  the 
rvalism,  inspired 
y  on  direct  study 

were  brought  to 
irgely  on  Italian 
•ough  the  work  ot 
Valois,  as  well  as 
,  Louis  XII  and 
I  when  we  visit  St. 
1  devoted  by  every 
ho  can  afford  the 


time  should  come  here  often,  and  study  ait  j,  >ni  the  exquisite 
works  of  Donatcllo,  Mich  i el  Angelo,  and  (^most  <.f  all)  Jean 
(loujon,  (icrmain  I'ilon,  and  their  K^cat  "^rench  contem- 
poraries. The  Italians  can  be  seen  to  greater  advantage  at 
Florence  .tnd  elsewhere  ;  only  here  can  one  form  a  just  idea  of 
the  beauty  and  importance  of  the  French  Renaissance.] 

Knler  by  Uoor  D,  in  Haedeker's  plan— centre  of  the  South- 
Eastern  wing  in  the  (old)  Cour  du  Louvre.  Pass  straight 
through  the  vestibule,  and  Salle  de  Jean  Goujon  ;  then  turn  to 
your  R,  traversing  the  Salle  de  Michel  Ange,  and  enter  that 
of  the  Italian  Renaissance  (numbered  VI  officially). 

The  Renaiss.ancc  in  France  being  entirely  based  upon  that 
in  Italy,  we  have  first  to  observe  (especially  in  the  case  of  those 
who  have  not  already  visited  Venice  and  Florence)  what  was 
the  character  of  the  Italian  works  upon  which  the  French 
sculptors  and  architects  based  themselves.  Here  you  get,  as  it 
were,  the  original :  in  French  sculpture,  the  copy.  This  small 
hall— the  hall  of  Donatello— contains  works  of  sculpture  of 
the  13th  to  the  isth  centuries  in  Italy.  Contrast  it  mentally 
with  the  purely  mediieval  objects  which  you  saw  at  Cluny, 
unrelieved  for  the  most  part  by  classical  example,  in  order 
to  measure  the  distance  which  separates  the  Italians  of  this 
epoch  from  their  contemporaries  north  of  the  Alps.  Recollect, 
too,  that  the  Italian  Renaissance  grew  of  itself  from  within, 
while  the  F'rench  was  an  artificially  cultivated  exotic. 

R  and  l  of  the  door,  early  squat  figures  of  Strength  and 
Prudence,  Italian  sculpture  of  the  13th  century,  still  exhibiting 
many  Gothic  characteristics,  but  with  a  nascent  striving  after 
higher  truth  which  began  with  the  school  of  the  Pisani  at  Pisa, 
Opposite  them,  Justice  and  Temperance,  completing  the  set  of 
the  four  cardinal  virtues.  These  may  be  looked  upon  as  the 
point  of  departure.  They  show  the  first  germ  of  Renaissance 
feeling.  L  of  doorway,  good  Madonna  from  Ravenna  ;  flanked 
by  two  innocent-faced  angels,  in  deacon's  dress,  drawing  aside 
a  curtain  from  a  tomb— beautiful  work  of  the  Pisan  school  of 
the  14th  century :  contrasted  with  the  best  French  reliefs  at 
Cluny  (such  as  the  legend  of  St.  Eustace),  these  works  exhibit 
the  early  advance  of  art  in  Italy.    Between  them  (contrasting 


Rf 


170 


PARIS 


lin, 


I  I 


I'I'li 

l4l 


t 


m 


well  with  the  early  French  ityle,   a.  much  more  idealUed 
lerra-cotta    painted    Madonna   and    Child.      Ueneath,   good 
Madonna    in    wood,    and    painted    K;"".^/'^""^'    '"J;"- 
Near  the  window,  ♦•beautiful  bust  of  a  ch.ld,  by  Uonalcllo, 
exhibiting    the   exquisite    unconscious    naivct.5  of   the    early 
Renalllance.    MosI  of  these  work,  are  so  fully  descr.bed  on 
their  pedestals  that  I  shall  only  call  attention  to  a  few  charac 
terislics.    The  emaciated  figure  of  the  Magdalen,  m  a  Glory 
of  Cherubs,  below,  is  the  conventional  representation  of  that 
Saint,  when  a  penitent  in  Provence,  being  daily  raised  aloft  to 
the  beatific  vision  :  many  examples  occur  at  Florence.    The 
beautiful  little  terra-cotta  Madonna  under  a  canopy  close  by  is 
admirable  in  feeling.     Opposite  it,  characteristic  decorative 
woTk  of  the  Renaissance.     Ihen,  «Donatello's  naif  Young  St. 
John,  the  Patron  Saint  of  Florence,  is  another  exquisite  ex- 
imp"^  of  this  beautiful  sculptor.    The  open  mouth  .s  typical 
A  Lucretia,  near  it,  indicates  the  general  tendency  to  imitate 
The  antiqu^,  still  more  marked  in  the  relief  of  a  funeral  cere- 
rnony^wher    the  boy  to  the  R  is  especially  pleasing     Do  not 
Terfook  a  single  one  of  the  Madonnas  in  this  dehghtful  room  : 
the  one  above  the  funeral  relief,  though  skied,  is  particularly 
Dleasing.    Even  the  large  painted  wooden  Sienese  Madonna 
in  the  centre,  though  the  merest  church  furniture,  has  the 
redeeming  touch  of  Italian  idealism.     The  busts  of  Roman 
emperors,  imitated  after  the  antique,  betray  on  the  other  hand 
the  trutspring  of  Renaissance  impulse. 

The  room  beyond-to  the  R-No.  Vll-is  filled  for  the 
most  part  with  fine  coloured  terracottas  or  majolicas  of  the 
school  of  Dell.  Robbla.    Cemre  of  L  wall,  at  the  end  (as  you 
enter),  Madonna  and  Child,  with  St.  Roch  showmg  his  plague 
SDOt   and  St.  Francis  pointing  to  the  stigma  ,n  his  s.de-a 
vSe  offering.    Fine  nude  figure.  L  of  it.  of  Friendship,  by 
Olivieri.    Exquisite  little  cherubs  and  angels.     Bronze  busts, 
instinct  with  Renaissance  feeling.     Window  wall-centre-a 
Delia  Robbia  of  the  Agony  in  the  Garden  :  the  arrangement  .s 
conventional,  and  occurs  in  many  other  ^^'^'^ '"^  »^';.  ^„f  f^.^^ 
It  is  flanked  by  two  good  Apostles  of  the  Pisan  school  (the 
;;:  ?o  intte'the  amique)  from  the  Cathedral  of  Florence. 
Far  L,  a  voluptuous  figure  of  Nature  by  Tribolo,  from  Fontaine- 


..I.] 

bles 

wall 

Int 

of  i 

fact 

da 

Rei 

kne 

dis< 

not 

she 

froi 

whi 

stai 

the 

har 

evil 

life 

the 

ser 

exf 

chi 

the 

bee 

ant 

of 

ma 

the 

ser 

ne; 

an< 

flet 

for 

Ge 

stii 

Dc 

ter 

ch 

of 


(111. 

lore  idealiied) 
Uenealh,   good 
donnas,    later, 
by  Donalello, 
of   the   early 
ly  described  on 
0  a  few  charac- 
len,  in  a  Glory 
:ntation  of  that 
r  raised  aloft  to 
Florence.    The 
nopy  close  by  is 
•istic  decorative 
naif  Young  St. 
er  exquisite  ex- 
nouth  is  typical. 
i::ncy  to  imitate 
»f  a  funeral  cere- 
leasing.    Do  not 
delightful  room  : 
d,  is  particularly 
•ienese  Madonna 
irniture,  has  the 
busts  of  Roman 
tn  the  other  hand 

-is  filled  for  the 
majolicas  of  the 

at  the  end  (as  you 
lowing  his  plague 
na  in  his  side— a 

of  Friendship,  by 
Is.  Bronze  busts, 
w  wall— centre— a 
the  arrangement  is 
:ks  in  this  Gallery. 

Pisan  school  (the 
edral  of  Florence, 
olo,  from  Fontaine- 


lll.]      RE\AISSA\CE  PARIS  {THE  LOUVRE)     lyi 

bleau,  characteristic  of  the  works  collected  by  Francois  I"     R 
wall,  several  Madonnas,  all  of  which  should  be  closely  studied. 
In  the  centre,  terracotta  of  the  School  of  Uonatello.     R  and  L 
of  it,  fine  busts  of  the  Italian  Renaissance,  with  most  typical 
faces.    Near  the  door,  portrait-statue  of  Louis  XII,  by  Lorenzo 
da  Mugiano :    this  king  was  the   precursor  of  the   French 
Renaissance  :  note  the  fine  decorative  work  on  his  greaves  and 
knee-caps.     In  the  centre,  a  fine  St.  Christopher,  his  face 
distorted  by  the  weight  of  the  (non-existent)  Christ  Child.    1 
note  these  in  particular,  but  all  the  works  in  these  two  rooms 
should  be  closely  followed,  both  as  exhibiting  the  development 
from  traditional  forms,  and  as  illustrating  the  style  of  art  on 
which  the  French  Renaissance  was  grafted.    Notice  for  in- 
stance (as  survival,  modified)  the  quaint  little  St.  Catherine,  in 
the  corner  by  the  window,  bearing  her  wheel,  and  laying  her 
hand  with  a  caressing  gesture  on  the  donor— a  special  votary, 
evidently.     Observe,  again,  the  three  little  scenes  from  the 
life  of  St.  Anne,  in  gilt  wood,  under  the  large  Delia  Robbia  of 
the  Ascension,  on  the  wall  opposite  the  windows.    They  repre- 
sent respectively  the  Rejection  of  Joachim's  Offering  (he  is 
expelled  from  the  Temple  by  the  High  Priest,  because  he  is 
childless  :  notice  his  servant  carrying  the  lamb  for  sacrifice) ; 
the  Birth  of  the  Virgin  (with  the  usual  details  of  St.  Anne  in 
bed  washing  her  hands,  the  bath  for  the  infant,  and  the  attend- 
ant bringing  in  a  roast  chicken  to  the  mother) ;  and  the  Meeting 
of  Joachim  and  Anne  at  the  Golden  Gate— a  scene  which  you 
may  often   recognise  elsewhere   (it  comes  immediately  after 
the  first,  the  Birth  being  interposed  as  principal  subject :  the 
servant  here  bears  the  rejected  lamb  less  ceremonially).    Be- 
neath them,  once  more,  a  characteristically  dainty  St.  George 
and  the  Dragon— with  the  beautiful  Princess  most  heartlessly 
fleeing  (as  always)  in  the  distance— should  be  carefully  noted 
for  comparison  later  with  Michel  Colombe  and  Raphael  (St. 
George's  lance  is  accidentally  broken :  you  can  still  see  the 
stump  of  it).    To  the  L,  again,  is  a  beautiful  Tabernacle  of  the 
Delia  Robbia  school— angels  guarding  relics.    To  the  R,  a 
terra-cotta  angel,  most  graceful  and  beautiful.     Further  l, 
charming  Madonna  :  I  need  hardly  call  attention  to  the  frames 
of  fruit,  which  were  a  Delia  Robbia  speciality.     Further  R, 


172 


PARIS 


[III. 


Baptism  of  Clovis,  gilt,  and  very  spirited,  though  over-crowded. 
Do  not  overlook  the  skied  St.  Sebastian. 

(The  little  room  beyond  again  contains  a  small  but  interest- 
ing collection  of  Early  Christian  works  which  must  be  visited 
and  studied  on  some  other  occasion.  These  very  ancient 
Christian  sculptures,  antique  in  conception,  antedate  the  rise  ol 
the  conventional  representations.)  .... 

Now   return  through  Room  VI  to   the  Salle  de  Michel 
Ange  (Room  V),  containing  for  the   most  part  still    more 
developed  works  of  the  Italian  Renaissance,  which  therefore 
stand  more  directly  in  connection  with  French  sculpture  of  that 
and  the  succeeding  period.    The  *doorMray  by  which  we  enter 
is  a  splendid  specimen  of  a  decorated  Italian  Renaissance 
portal,  removed  from  the  Palazzo  Stanga  at  Cremona  ;  it  was 
executed  by  the  brothers  Rodari  at  the  end  of  the  isth  century, 
and  is  decorated  with  medallions  of  Roman  Emperors,  a  figure 
of  Hercuies  (the  mythical  founder  of  Cremona),  and  of  Perseus, 
together  with  reliefs  from  the  myths  of  those  heroes  and  others. 
Identify  these.    Above  the  name  of  Perseus,  for  example  (to 
the  R),  is  a  relief  representing  the  three  Gorgons  and  the  head 
of  Pe-asus.    Above  that  of  Hercules  (l)  are  the  heads  of  the 
Hydra  which  he  slew  (as  also  represented  in  a  bronze  on  the 
end  wall  not  far  from  it).    This  gateway  you  should  u.entally 
compare,  when  you  visit  the  6cole  des  Beaux-Arts,  with  that  ol 
Diane  de  Poitiers'  Chateau  d'Anet  now  erected  in  the  court- 
yard and  with  the  Made  of  the  Chiteau  de  Gaillon  at  the  same 
place      The  beautiful  Italian    Renaissance   fountain  in  the 
centre  of  the  room  comes  itself  from  the  same  Chateau  de 
Gaillon  :  it  was  given  to  Cardinal  d'Amboise  (who  built  the 
Chateau)  by  the  Republic  of  Venice. 

The  most  beautiful  works  in  this  room,  however,  are  the  two 
so-called  *Fettered  Slaves,  by  Michael  Angelo-in  reality 
figures  of  the  Virtues,  designed  for  the  monument  of  Juhus  II. 
It  was  Michael  Angelo's  fate  seldom  to  finish  anything  he 
began.  This  splendid  monument,  interrupted  by  the  too  early 
death  of  the  Pope  who  commissioned  it,  was  to  have  embraced 
(among  other  features)  figures  of  the  Virtues,  doomed  to  « 
inction  by  the  death  of  the  ponti  /.  These  are  two  of  hem  : 
the  one  to  the  right,  unfinished,  is  of  less  interest :  **that  to 


fin. 

[h  over-crowded. 

nail  but  interest- 
h  must  be  visited 
!se  very  ancient 
tedate  the  rise  of 

Salle  de  Michel 

part  still    more 
,  which  therefore 
I  sculpture  of  that 
)y  which  we  enter 
lian  Renaissance 
Cremona ;  it  was 
rthe  I  sth  century, 
Emperors,  a  figure 
a),  and  of  Perseus, 
heroes  and  others, 
s,  for  example  (to 
gons  and  the  head 
;  the  heads  of  the 
in  a  bronze  on  the 
u  should  iiientally 
{-Arts,  with  that  of 
■ected  in  the  court- 
aaillon  at  the  same 
e   fountain  in  the 

same  Chateau  de 
>ise  (who  built  the 

owever,  are  the  two 
Angelo— in  reality 
lument  of  Julius  II. 
finish  anything  he 
ted  by  the  too  early 
IS  to  have  embraced 
tues,  doomed  to  ex- 
se  are  two  of  them  : 
i  interest :  **that  to 


HI.]       RENAISSANCE   PARIS   (THE   LOUVRE)      173 

the  left,  completed,  is  of  the  exqiusite  beauty  which  this  sculptoi 
often  gave  to  nude  youthful  male  figures.  They  represent  the 
culminating  point  of  the  Italian  Renaissance,  and  should  be 
compared  with  the  equally  lovely  sculptures  of  the  Medici 
tombs  in  San  Lorenzo  at  Florence.  Observe  them  well  as 
typi:al  examples  of  Michael  Angelo's  gigantic  power  and 
mastery  over  marble. 

You  will  note  in  the   windows  close  by  several  exquisite 
bronze  reliefs ;  eight  of  them,  by  Riccio,  r.re  from  the  monu- 
ment of  the  famous  anatomist,  Delia  Torre,  representing  his 
life  and  death  in  very  classical  detail,    (l  window)  Delia  Torre 
lecturing  at  Verona  ;  dangerously  ill ;  sacrifice  to  the  gods  for 
his  recovery  ;  his  death  and  mourning  :  (R  window)  his  obse- 
quies ;  passage  of  the  soul  (as  a  naked  child  with  a  book)  in 
Charon's  boat  (pursued  by  Furies) ;  apotheosis  (crowned  by 
Famct;  and  celebrity  of  the  deceased  on  earth;  all  designed  in 
a  thoroughly  antique  manner.    (Souls  of  the  recently  dead  are 
frequently  represented  leaving  the  body  like  new-born  children.) 
This  work  shows  the  Renaissance  not  only  as  secular  and 
humanist  but  even  as  pagan  :  early  ages  would  have  considered 
such  treatment  impious.    All  the  other  reliefs  in  this  very  im- 
portant room  should  be  carefully  noted.    By  this  (r)  window, 
the  Annunciation  (from  Cremona) ;  Judgment  of  Solomon  (now 
wholly  conceived  in  the  classical  spirit) ;  Adoration  of  the  Magi, 
in  bronze  ;  figures  of  Galba  and  Faustina,  entirely  antique  in 
tone  ;  Paul  shaking  oflf  the  snake,  etc.    A  portrait  medallion  of 
Ludovico  il  Moro  of  Milan  (also  by  this  window)  may  be  m- 
structively  compared  with  those  in  contemporary  Italian  paint- 
ings upstairs.    The  next  (l)  window  (with  a  rosso  antico  and 
marble  imitation  of  the  Wolf  of  the  Capitol)  contains  the  be- 
ginning of  the  reliefs  from  the  tomb  of  Delia  Torre,  in  the  same 
classical  style,  together  with  two  exquisite  Madonnas  by  MIno 
da  Flesole,  and  other  charming  works  of  the  same  period 
The  infantile  simplicity  of  Mino  has  an  unspeakable  attraction 
Between  the  windows,  a  Pietk  from  Vicenza,  with  St.  Jerome, 
beating  his  breast  as  always  with  a  stone,  and  St.  Augustine 
(I  think)  writing.    On  the  far  wall,  note  a  fine  wooden  Annunci- 
ation in  two  figures,  from  Pisa,  of  the  Florentine  14th  cent. 
The  angel  Gabriel  and  the  Madonna  are  frequently  thus  separ- 


_JM'' 


174 


PARIS 


[III. 


ated.    Between  them,  admirable  equestrian  figure  of  Robert 
Malatesta,  of  Rimini,  where  the  action  of  the  horse  is  particularly 
spirited.   Fine  bust  of  Filippo  Stro«i  by  Benedetto  da  Majano 
on  a  pedestal  close  by.   (You  will  find  many  works  by  this  art.s 
for  this  patron  at  Florence.)   The  various  Virgms  on  the  R  wa^l 
should  also  be  carefully  studied,  as  well  as  the  fine  wooden  C.r- 
cumcision-a  good  rendering  of  the  traditional  scene,  where  the 
artist  triumphs  over  his  intractable  material-and  the  exquis- 
itely dainty  bust  of  the  Florentine  **Baptist,  instinct  with  the 
tender  simplicity  of  Mino  da  Fiesole,  whose  decorative  frag- 
ments above  must  not  be  overlooked.    Do  not  leave  this  room 
without  having  carefully  examined  everything  it  conUins,  as 
every  object  is  deserving  of  study.  [For  instance,  I  have  omitted 
to  mention  works  so  fine  as  the  self-explanatory  High  Renais- 
sance Jason,  the  relief  of  Julius  Cccsar,  the  splendid  bust  of 
Beatrice  d'Este  (see  for  this  family  the  Perugmo  etc   upstairs), 
and  the  spirited  bronze  of  Michael  Angelo,  lined  with  the  lines 
of  a  thinker  who  has  struggled  and  suffered.]    Fmally^  sit  long 
on  the  bench  between  the  windows,  and  lo°k  w«»^\f; 
Nymph  of  Fontalnebleau.  with  stag  and  wild  b"".  by  Ben- 
venuto  Cellini,  the  great  Florentine  •"^^^^^/'^^L  *^'"i"".- 
.jois  I"  commissioned  to  produce  this  work  for  Fontainebleau 
(But  Henri  II  gave  it  instead  to  Diane  de  P°'''"^. /«J^us 
Chateau  d'Anet.)      Cellini's  work  gave  ^^  .•'""'"^V7^.'"' 
to  French  sculpture,  and  it  is  largely  on  his  style  that  Jean 
Goujon  and  the  great  French  sculptors  we  have  shortly  to  ex- 
amiie  formed  their  conceptions.     Voluptuous  and  overlithe 
this  fine  relief  is  a  splendid  example  of  its  able,  unscrupulous, 
deft-handed  artist-seldom  powerful  or  dt.p,  yet  always  ex- 
quisite in  tone  and  perfect  in  handicraft.  ,   ^      .         .  ^. 

Now,  in  order  to  form  a  just  conception  of  the  nse  of  he 
French  school  of  sculpture,  traverse  the  Salle  de  Jean  Gou  on 
LTthe  other  rooms  which  succeed  it  till  you  come  to  the  last 
room  of  the  suite-officially  No.  I-t^^5«"*l«»'J"*»5%^!;": 
neveu.  This  vault-like  hall  contains  works  of  the  Early  French 
School  of  the  .3th.  .4th,  and  .5th  cent.,  still  for  the  most  part 
purely  Gothic,  and  uninfluenced  in  any  way  by  Itahan  models 
Among  them  we  notice,  at  the  far  end  of  the  room,  near  the 
door  which  leads  into  the  Egyptian  Museum,  several  statuettes 


[III. 

giire  of  Robert 
ic  is  particularly 
etto  da  Majano 
rks  by  this  artist 
ns  on  the  R  wall 
fine  wooden  Cir- 
scene,  where  the 
and  the  exquis- 
nstinct  with  the 
decorative  frag- 
;  leave  this  room 
I  it  contains,  as 
e,  I  have  omitted 
»ry  High  Renais- 
splendid  bust  of 
no,  etc.,  upstairs), 
led  with  the  lines 
Finally,  sit  long 
look  well  at  the 
ild  boar,  by  Ben- 
rker  whom  Fran- 
jr  Fontaincbleau. 

I  Poitiers,  for  her 
immense  impetus 
,s  style  that  Jean 
ave  shortly  to  ex- 
lus  and  overlithe, 
ible,  unscrupulous, 
p,  yet  always  ex- 

of  the  rise  of  the 
lie  de  Jean  Goujon 
»u  come  to  the  last 
led'Andr^  Beau- 
the  Early  French 

II  for  the  most  part 
by  Italian  models, 
the  room,  near  the 
1,  several  statuettes 


III]      RENAISSANCE  PARIS  (THE  LOUVRE)      175 

of  Our  Lady  and  Child,  of  a  character  with  which  Cluny  has 
already  made  us  acquainted.     Invariably  crowned  and  noble, 
they  represent  the  Madonna  as  the  Queen  of  Heaven,  not  the 
peasant  of  Bethlehem.    This  regal  conception  and,  still  more, 
the  faint  simper,  are  intensely  French,  and  mark  them  off  at 
once  from  most  Italian  Madonnas.    Further  on,  by  the  end 
window,  the  figures  of  angels,  of  St.  John  Baptist,  and  of  a 
nameless  king,  are  also  thoroughly  French  in  character ;  while 
the  dainty  little  Burgundian  choir  of  angels,  holding,  as  they 
sing,  a  scroll  with  a  Gloria,  is  in  type  half  German.     Note  also 
the  numerous  recumbent  effigies  from  tombs,  among  the 
best  of  which  are  those  of  Catherine  d'Alenqon  and  of  Anne  of 
Burgundy,  Duchess  of  Bedford.    The  tombs  at  this  end  have 
still  the  stiff  fomiality  of  the  early  Gothic  period.    The  strange 
recumbent  figure  in  the  centre,  supported  by  most  funereal 
mourners  (placed  too  low  to  be  seen  properly),  is  the  tomb  of 
Philippe  Pot,  Grand  Seneschal  of  Burgundy  under  John  the 
Good,  from  the  Abbey  of  Citeaux.    Such  mourners  are  charac- 
teristic of  the  monumental  art  of  Burgundy.    One  more  occurs 
under  a  canopy  near  the  middle  window  :  you  will  recollect  to 
have  seen  others  (from  the  tomb  of  Philippe  le  Hardi)  at  Cluny. 
Further  on  in  the  room  we  get  more  Madonnas  whose  marked 
French  type  you  will  now  be  able  to  recognise.    Good  recum- 
bent figures  of  a  bishop,  and  of  Philip  VI,  sufficiently  described 
by  the  labels,  and  other  excellent  statues,  one  of  the  best  oi 
which  is  the  child  in  the  centre.    The  king  and  queen  by  the 
doorway  are  also  fine  examples  of  the  art  of  the  isth  cent. 
Notice  »he  dates  of  all  these  figures,  as  given  by  the  labels,  and 
convince  yourself  from  them  (as  you  can  do  still  more  fully  in 
the  next  room)  that  French  art  itself  made  a  domestic  advance 
from  the   nth  cent.,  onward,  wholly  independent  of  Italian 
influence.     This  advance  was  due  in  the  main  to  national 
development,  and  to  the  slow  recovery  of  trade  and  handicraft 
from  the  barbarian  irruption.    What  was  peculiar  to  Italy  was 
the  large  survival  of  antique  works,  which  the  School  of  Pisa, 
and  others  after  them,  strove  to  imitate.    In  France,  till  Fran- 
Qois  I",  no  such  classical  influence  intervenes :  the  develop- 
ment is  all  home-made  and  organic.    But  if  you  contrast  the 
busts  by  the  w  doorway,  or  the  tombstone  of  Pierre  de  Fayet, 


T.i 


I?! 


1! 


1    i-  n 


tm 


176 


PARIS 


[HI. 


near  them,  with  the  ruder  work  by  the  first  window  in  the  next 
room,  the  reality  of  this  advance  will  become  at  once  apparent 
to  you.     The  artists,  though  still  hampered  by  tradition,  are 
striving  to  attain  higher  perfection  and  greater  truth  to  nature. 
Do  not  miss  in  this  connection  the  excellent  wooden  Flagellation 
by  the  middle  window  :  nor  the  Madonna  opposite  it ;  nor  the 
donor  and  donatrix  close  by ;  nor  the  fine  mutilated  Annunci- 
ation (with  lily  between  the  figures)  by  the  w  window  ;  nor  the 
well-carved  Nativity  (clearly  Flemish,  however)  near  the  seat  by 
the  doorway.     In  this  last,  observe  the  quaint  head-dress  of  the 
donatrix  in  the  background  (an  unusual  position)  as  well  as  the 
conventional  ox  and  ass,  and  the  Three  Kings  approaching  m 
the  upper  right-hand  corner,  balanced  by  the  shepherds  listen- 
ing to  the  angels.    St.  Joseph's  candle  is,  however,  a  novelty.    I 
merely  note  these  points  to  show  how  much  there  may  often  be 
in  seemingly  unimportant  objects.    This  is  officially  called  an 
Adoration  of  the  Shepherds,  but  if  you  look  into  it,  you  will 
see  erroneously.    The  person  entering  from  behind  is  a  mere 
modern  spectator.     Study  well  the  works  in  this  room  and  the 
next,  regarded  as  a  starting-point. 

In  the  passage  leading  into  the  next  room  are  a  truncated 
statue  of  St.  Denis,  from  his  Basilica  (to  be  visited  later),  and, 
beyond  it,  a  group  of  Hell  from  the  same  church.  Notice  the 
usual  realistic  jaws  of  death,  vomiting  flame  and  swallowing  the 
wicked.  Observe  also  that  souls  are  always  represented  as 
nude.  Opposite  this,  a  mutilated  fragment  of  St.  Denis  bear- 
ing his  head,  and  accompanied  by  his  two  deacons,  St.  Rusticus 
and  St.  Eleutherius.  I  have  not  hitherto  called  attention  to 
these  two  attendant  deacons,  but  you  will  find  them  present  in 
almost  all  representations  of  St.  Denis.  (Look  for  them  among 
the  paintings.)  Try  to  build  up  your  knowledge  in  this  way,  by 
adding  point  to  point  as  you  proceed,  and  afterwards  returning 
to  works  earlier  visited,  which  will  gain  fresh  light  by  compari- 
son with  those  seen  during  your  more  recent  investigations. 

Enter  Room  II  :  Salle  du  Moyen  Age.  Notice,  first,  the 
fragments  by  the  window;  those  numbered  19  to  22  are  gord 
typical  examples  of  the  rude  work  of  the  Romanesque  period 
(loth  to  i2th  cents.).  23,  beside  them,  shows  the  improvement 
which  came  in  with  the  Gothic  epoch,  as  well  as  the  distinctive 


[HI. 


Ill]      RENAISSANCE  PARIS  {THE    LOUVRE)       I77 


dow  in  the  next 
once  apparent 
y  tradition,  are 
truth  to  nature, 
len  Flagellation 
site  it ;  nor  the 
ilated  Annunci- 
indow  ;  nor  the 
near  the  seat  by 
ead-dress  of  the 
n)  as  well  as  the 
approaching  in 
hepherds  listen- 
;er,  a  novelty.    I 
ere  may  often  be 
icially  called  an 
into  it,  you  will 
behind  is  a  mere 
lis  room  and  the 

\  are  a  truncated 
isited  later),  and, 
irch.  Notice  the 
id  swallowing  the 
s  represented  as 
if  St.  Denis  bear- 
:ons,  St.  Rusticus 
died  attention  to 
i  them  present  in 
Ic  for  them  among 
ge  in  this  way,  by 
srwards  returning 
light  bycompari- 
nvestigations. 
Notice,  first,  the 
19  to  22  are  god 
omanesque  period 
i  the  improvement 
1  as  the  distinctive 


Gothic  tone  in  execution, — softer,  and  rounder,  with  just  a  touch 
of  foolish  infantile  simplicity  or  inanity.  Observe  all  the  other 
heaas  here,  and  compare  their  dates,  as  shown  on  the  labels. 
Two  beautiful  angels,  from  the  tomb  of  the  brother  of  St.  Louis, 
will  indicate  this  gradual  advance  in  execution,  wholly  anterior 
to  any  Renaissance  influence.  On  the  R  side  of  the  window, 
notice  particularly  an  admirable  head  of  the  Virgin,  76,  and 
another  near  it,  from  the  cathedral  of  S^es.  On  the  pillar,  St. 
Denis  bearing  his  head.  Every  one  of  these  capitals  and  heads 
should  be  closely  noted,  with  reference  to  the  dates  shown  on 
the  label.  In  the  little  Madonna  on  the  L  hand  window,  ob- 
serve a  nascent  attempt  to  introduce  an  element  of  playfulness 
which  is  characteristically  French.  This  increases  later.  It 
develops  into  the  grace— the  somewhat  meretricious  grace — 
of  more  recent  French  sculpture. 

Now  turn  to  the  body  of  the  room.  R  wall,  53,  an  excellent 
angel.  Beyond  it,  the  Preaching  of  St.  Denis  ;  observe  that  he 
is  here  attended  by  his  two  faithful  deacons  ;  the  gateway  indi- 
cates that  he  preaches  at  Paris.  Such  little  side-indications  are 
common  in  early  art :  look  out  for  them.  Above  it,  Christ  in 
Hades,  redeeming  Adam  and  Eve,  as  the  firstfruits  of  the  souls, 
from  Limbo  ;  the  devil  bound  in  chains  on  the  ground  beneath 
them ;  you  saw  several  similar  works  at  Cluny.  Further  on, 
another  Madonna  and  Child,  with  the  same  attempt  at  playful- 
ness ;  notice  here  Our  Lady's  slight  simper,  a  very  French 
feature ;  the  Child  carries  a  goldfinch,  which  you  will  frequently 
find,;if  you  look  for  it,  in  other  representations,  both  French  and 
Italian.  The  coloured  relief  of  Pilate  recalls  those  in  the  am- 
bulatory at  Notre- Dame.  (Read  in  every  case  the  date  and 
place  whence  brought  here.)  Beneath  it  are  the  Flagellation, 
Bearing  of  the  Cross,  Crucifixion,  and  Entombment,  which  may 
be  profitably  compared  with  other  examples. 

(If,  after  observing  the  French  type  of  Madonna  in  these 
rooms,  and  the  few  Burgundian  works  they  contain,  you  have 
time  to  revisit  the  Mediaeval  Sculpture  at  Cluny — Room  VI, 
ground  floor — as  I  strongly  advise  you  to  do,  you  will  find  that 
Burgundian  art  in  the  Middle  Ages  was  quite  distinct  from 
French,  and  had  types  of  its  own,  approximating  to  Jhe 
Flemish,  and  still  more  to  the  German.    This  is  well  seen  in 


.^ 


178 


PARIS 


III.] 


•he  Rurcundian  Madonna  and  St.  Catherine  at  Cluny.     For 

tdy  o?the  s^y'e  it  is  a  good  plan  to  stop  at  DlJon  on  your 

wav  to  or  from  Switzerland.)  ...  r »«, 

The  end  of  the  room  is  occupied  by  a  Goth.c  doo^^V  f^/" 

.house  "n  Valencia  (Spain),  which  may  be  contrasted  w.th  the 

tear    lyla^e    Renaissance  example  from  the  Pala"o  Stanga^ 

on   ts  top  is  an  Annunciation,  representations  of  wj-^  -« 

frequent  in  similar  situations ;  we  saw  one  on  the  f^^ade  o 

St  Srenne  du  Mont;  in  such  cases,  the  Madonna  .s  almos 

painS  To  its\,  a  similar  regal  painted  Madonna.  To  the 
rgoSous  colou;ed  statue  of  King  Childebert.  of  the  ,3th 
«nf  this  once  stood  at  the  entrance  to  the  beaut  ful  re- 
ectory  of  he  Abbey  of  St.  Germain-des-Pr^s  (see. later)  wh.ch 
Ch  Webert  founded,  and  where  the  king  was  buned.  L  wall, 
fraimen^^^^^^^^  stone  relief,  Judas  receivmg  payment: 

nf  the  same  type  as  those  in  Notre-Dame.      Further  on,  a 
T   kZI  of  ludas     (Compare  this  with  several  spec.mens 
ir^^nyT  T  e'mu^latS  stL  of  many  of  these  fragment, 
t  in  several  instances  due  to  the  Revolution.     All  the  o  her 
lerand  fragmems  in  this  compartment  should  be  carefu 
•     A  \r,r\uA\r\ff  the  strange  scene  from  a  Hell,  ana  tne  sun 

and  very  typical  of  French  conceptions. 


van 


III.]      RENAISSANCE  PARIS  {THE  LOUVRE)      179 


It  Cluny.     For 
Dilon  on  your 

c  doorway  from 
trasted  with  the 
Palazzo  Stanga. 
(IS  of  which  are 
m  the  facade  of 
donna  is  almost 
or,  or  ornament 
esents  the  usual 
"rench  Madonna, 
)earing  the  gold- 
iffected  lady-like 
ich  sculpture  and 
[adonna.    To  the 
bert,  of  the  13th 
the  beautiful  re- 
i  (see  later)  which 
5  buried.    L  wall, 
ceiving  payment : 
j.      Further  on,  a 
several  specimens 
f  these  fragments 
m.     All  the  other 
ihould  be  carefully 
I  Hell,  and  the  stift 
.    By  the  doorway, 
ider  a  little  canopy, 

le,  represents  the 
uring  the  last  half 
the  i6th  cent.,  in 
Renaissance.  The 
stal  near  the  door, 
iness,  with  the  (very 
;  king  in  the  French 
and  archaic  fidelity 
c  of   artistic   finish. 


Note  such  little  points  as  that  the  king  wears  the  collar  of  his 
order,  with  the  St.  Michael  of  France  as  a  pendant.  Near 
the  window,  fragments  of  work  displaying  Renaissance  in- 
fluence. One,  a  relief  of  the  Return  of  the  Master,  from  the 
Chilteau  de  Gaillon  (built  by  Cardinal  d'Amboise,  minister  of 
Louis  XII,  and  one  of  the  great  patrons  of  the  Renaissance 
in  France),  exhibits  the  beginning  of  a  taste  for  secular, 
domestic,  and  rustic  subjects,  which  later  became  general. 
(Early  work  is  all  sacred — then  comes  mythical — lastly,  human 
and  contemporary.)  Note  on  the  opposite  side,  the  fine  bronze 
of  Henri  Blondel  de  Rocquencourt,  under  Henri  II.  The 
Apollo  and  Marsyas  is  strongly  Renaissance— a  mythic  subject 
(see  the  Perugino  upstairs).  The  Massacre  of  the  Innocents 
exhibits  Renaissance  treatment  of  a  scriptural  scene.  The 
centre  of  the  room  is  occupied  by  fine  bronzes  of  the  school 
of  Giovanni  da  Bologna,  a  Frenchman  who  worked  in  Italy 
and  forms  a  link  between  the  art  of  the  two  countries.  Ob- 
serve the  decorative  French  slenderness  and  coquetry  of  form, 
combined  with  the  influence  of  the  Italian  Renaissance.  The 
Mercury— light  and  airy — is  a  replica  of  Giovanni  da  Bologna's 
own  famous  statue  in  the  Bargello  at  Florence.  The  Mercury 
and  Psyche  beside  it  is  a  splendid  example  of  Giovanni  da 
Bologna's  school,  by  Adrian  de  Vries.  Notice  the  French 
tinge  in  the  voluptuous  treatment  of  the  nude,  and  the  slen- 
derness and  grace  of  the  limbs.  The  bronze  statue  of  Fame, 
from  the  tomb  of  the  Due  d'Epernon,  exhibits  in  a  less  degree 
the  same  characteristics.  It  is  obviously  suggested  by  Gio- 
vanni's Mercury. 

Along  the  wall  to  the  L,  the  most  noticeable  work  is  the 
splendid  **  marble  relief  of  St.  George,  by  the  great  French 
sculptor  Michel  Colomibe,  produced  for  the  chapel  of  the 
Chateau  de  Gaillon  ;  recollect  all  these  Gaillon  objects,  and 
their  connection  with  one  another  :  the  chdteau  was  erected 
under  Louis  XII,  at  the  dawn  of  the  French  Renaissance,  and 
much  of  its  work,  like  this  fine  relief,  shows  a  considerable 
surviving  Gothic  feeling.  You  will  see  the  facade  of  the  cha- 
teau later  at  the  6cole  des  Beaux- Arts.  It  is  interesting  to 
compare  this  splendid  pece  of  sculpture  with  the  little  Delia 
Robbia  in  the  Italian  rooms,  and  the  painting  by  Raphael 


I 


I; 


; 


immu 


i8o 


PARIS 


ini. 


m 

i 


upstairs :  the  dragon  here  is  a  fearsome  and  very  medixval 
monster ;  but  the  St.  George  and  his  hotsn  are  full  of  life  and 
spirit ;  and  the  fleeing  Princess  in  the  background  is  delicately 
French  in  attitude  and  conception.  The  dragon  is  biting  the 
saint's  lance,  which  accounts  for  its  broken  condition  in  the 
Raphael  and  the  Mantegna.  Comparison  of  the  various  St. 
Georges  in  this  collection,  indeed,  will  give  you  an  admirable 
idea  of  the  way  in  which  n  single  conventional  theme,  em- 
bracing always  the  very  same  elements,  is  modified  by  national 
character  and  by  the  individuality  of  the  artist,  To  under- 
stand this  is  to  have  grasped  art-history.  (Note  that  tlie  legend 
of  St.  George  itself  is  in  one  aspect  a  Christianisation  of  the 
myth  of  Penseus  and  Andromeda.) 

Beneath  the  St.  George  stands  a  line  Dead  Christ,  also 
exhibiting  characteristic  French  treatment.  Tlie  somewhat 
insipid  but  otherwise  excellent  Madonna  and  Child,  on  a 
pedestal  close  by,  is  admirable  as  exemplifying  the  transforma- 
tion of  the  smirking  Madonnas  of  the  Middle  Ages  into  the 
type  of  the  Renaissance.  The  Death  of  the  Virgin,  near  it, 
from  St.  Jacques-de-la-Boucherie  (of  which  only  the  tower  now 
remains),  suggests  to  one's  mind  the  riches  which  must  once 
have  belonged  to  the  demolished  churches  of  Paris, — mostly, 
alas !  destroyed  at  the  great  Revolution.  Observe  in  this  work 
the  figures  of  the  attendant  apostle.<i,  the  Renaissance  archi- 
tecture of  the  background,  and  the  soul  of  the  Madonna  as- 
cending above,  escorted  by  angels,  to  heaven.  More  naive,  and 
somewhat  in  the  earlier  style,  is  the  Nativity  above  it,  flanked 
by  the  two  St.  Johns,  the  Baptist  and  the  Evangelist.  The 
tomb  of  Philippe  de  Comirynes  also  illustrates  the  older 
feeling,  as  yet  little  influenced  by  the  Italian  irruption.  Note 
that  the  works  which  betray  the  greatest  Italian  influence  are 
chiefly  connected  with  the  royal  chateaux  and  palaces  of 
Francois  I"  and  his  Italianate  successors,  or  their  wives  and 
mistresses ;  the  nation  as  yet  is  little  touched  by  the  new 
models. 

The  bronze  tomb  of  Alberto  Pio  of  Savoy,  by  Ponzio,  on  the 
other  hand,  exhibits  strongly  the  Italian  tendency,  and  should 
be  compared  with  the  earlier  recumbent  tombs,  behind  in  Room 
I,  as  showing  the  survival  of  the  mediaeval  type,  transmuted 


SJ 

cq 
hJ 

H 

liJ 
ell 


im. 


III.]      RENAISSANCE  PARIS  (THE  LOUVRE)      l8l 


ery  mediiEval 
uU  of  life  and 
d  is  delicately 
I  is  biting  the 
idition  in  the 
he  various  St. 
an  admirable 
al  theme,  em- 
ied  by  national 
\.     To  under- 
thai  the  legend 
nisation  of  the 

id  Christ,  also 
The  somewhat 
id  Child,  on  a 
the  transforma- 
B  Ages  into  the 
Virgin,  near  it, 
y  the  tower  now 
rhich  must  once 
■  Paris,— mostly, 
erve  in  this  work 
naissance  archi- 
he  Madonna  as- 
More  naive,  and 
above  it,  flanked 
Lvangelist.     The 
itrates   the  older 
irruption.    Note 
lian  influence  are 
:  and  palaces  of 
r  their  wives  and 
ched  by  the  new 

by  Ponzio,  on  the 
dency,  and  should 
)s,  behind  in  Room 
1  type,  transmuted 


and  completely  revivified.  The  same  may  be  said  of  the  tomb 
of  Philippe  de  Chabot,  which,  however,  is  more  distinctively 
French  and  much  less  markedly  Italian.  See  how  the  early 
prostrate  effigies  become  here  recumbent :  the  figure,  as  it  were, 
is  trying  to  raise  itself.  In  comparing  the  various  works  in  this 
room,  endeavour  to  note  these  interlacing  points  of  resemblance 
and  difference.  The  beautiful  Genii  above  are  parts  of  the  same 
tomb,  and  are  exquisite  examples  of  the  minor  work  of  the 
French  Renaissance.  Passing  the  Italian  Tacca's  admirable 
bust  of  Giovanni  da  Bologna,  we  come  to  an  excellent  Entomb- 
ment, of  the  French  School,  from  St.  Eustache,  which  should 
be  compared  with  earlier  specimens  in  the  adjacent  rooms. 
IJeneath  it,  a  fine  fragment  by  Jean  Cousin.  Still  lower,  a 
Passage  of  the  Red  Sea,  beginning  to  display  that  confused 
composition  and  lack  of  unity  or  simplicity  which  spoiled  the 
art  of  the  lAttt  tM)  and  17th  centuries.  The  fine  Madonna 
and  Child  close  by  should  he  compared  with  the  very  similar 
example  opposile,  as  well  as  with  its  predecessors  in  otl(  r 
centuries.  (Comparison  uf  varying  versions  of  the  same  theme 
is  always  more  instructive  thart  Ihut  of  different  subjects.)  The 
tomb  of  Abbct  Jean  de  Cromois,  with  Its  Renaissance  fram«- 
work,  shows  a  survival  of  earlier  tendencies  ;  as  does  also  that 
of  Roberte  Legendre,  though  the  figures  of  Faith  and  Hope 
(Charity  is  missing)  are  distinctly  more  recent  in  type  than  the 
recumbent  effigy.  Those  who  have  time  to  notice  and  hunt  up 
the  coats  of  arms  on  the  various  tombs  will  often  find  they 
shed  interesting  light  on  their  subjects.  Observe  also  the 
churches  from  which  these  various  monuments  have  been 
removed,  a  point  which  will  fit  in  with  your  previous  or  sub- 
sequent  knowledge  of  the  buildings  in  many  cases. 

The  last  window  contains  a  few  works  of  the  Qerman 
School,  which  it  is  interesting  to  compare  with  their  French 
contemporaries.  Thus,  the  shrewd,  pragmatical,  diplomatic 
head  of  Frederick  the  Pacific,  a  coarse,  cunning  self-seeker,  is 
ex.cellently  contrasted  with  the  French  portrait-busts.  The 
little  scene  of  the  Holy  Family,  after  Diirer,  which  should  be 
closely  studied,  is  essentially  German  in  the  domestic  character 
of  its  carpenter's  shop,  in  the  broad  peasant  faces  of  its 
Madonna  and  attendant  angels,  in  the  playful  touches  of  the 


it 


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g^g, 


i8a 


PARIS 


[III. 


irreverent  cherubs,  and  in  th.  figure  of  the  Al^'g^y  »PP  ^  "^f 
in  clouds  at  the  summit  of  the  composition.    1  he  K.ss  of  Juda 
opposite  it.  is  also  characteristically  Germ..n  ,  "o^-  J;^^*^.'^;^' 
soldiers,  whose  like  we  have  seen  in  woodwork  at  Cluny  .  the 
bluff  St   Peter  with  the  sword  is  equally  noteworthy  ;   n  the 
background  are  separate  episodes,  such  as  the  Agony jn  the 
Garden  •  though  officially  ascribed  to  the  French  School,  thi 
U  surX  the  work  of  a  deft  but  unideal  German  art.st.    Do  not 
nej    tthe  many  beautiful  decorative  fri«ment.  collected  m 
This  room,  nor  the  fine  busts,  mostly  of  a  somewhat  later 

''"liot  enter  Room  VIII,  the  Salle  de  Jean  Qoujon.    The 

magnificent  collection  of  works  contained  in  this  room  embraces 
the  lloest  .peclmen.  of  French  «•"••»"""  ^^^^.^'S! 
school  of  the  great  artist  whose  name  U  bears.  ^^^  o^  h.s  eq^^^^^^^^^ 
gifted  contemporary.  Germain  Pilon.   They  represent  the  plastic 
Sde  of  the  School  of  Fontainebleau.     In  the  centre  is  Jean 
Goujon's  •♦Huntress  Diana,  with  her  dogs  and  stag  ;  U  was 
«obably  executed  for  Diane  de  Poitiers,  and  comes  from  h 
Chateau  d'Anet,  presented  to  her  by  her  royal  lover.    (Note 
aU  the  works  fr'om  the  Chateau  d'Anet,  wluch  is  a  destroyed 
museum  of  the  art  of  the  Renaissance.)    Observe  on  the  base 
r  monogram  of  H.  and  D.,  which  recurs  on  contemporary 
poniTns  oHhe  Louvre.    The  decorative  >ob^t- ^f  .^^^f.f, 
on  the  pedestal  should  also  be  noted     Diana  herself  strj« 
the  keynote  of  all  succeeding  French  sculpture.     Beautiful, 
coquetUsh.  lithe   of  limb,  and   with  the  ^^^^^-^^J^'^^^ 
e^gance  of  pose,  this  figure  nevertheless  ^ontams  m  .t  the 
germs  of  rapid  decadence.    It  suggests  the  genesis  of  the  .8th 
Century,  and  of  the  common  ormolu  clock  of  commerce.    Step 
nto  the  next  room  and  compare  it  with  the  Nymph  of  Fontaine^ 
bleau.  by  Benvenuto  Cellini.     You  will  there  see  how  far  the 
Florentine  artist  approached  the  F--''' ^"^*'°;,":'J  ^J* 
Frenchman  borrowed  from  the  Florentine.    Walk  round  and 
observe  on  either  side  this  the  most  triumphant  work  of  the 
French  Renaissance.    Observe  also  its  relations  to  the  Diana 
!f  V  rsailles.  in  the  Classical  Gallery-brought  to  France  by 
Frangois  l",-and  its  general  debt  to  the  antique,  as  well  as  to 
contemporary  Italy. 


[hty  appearing 
Kiss  of  Judas, 
tice  the  biutiil 
at  Cluny :  the 
/orthy  ;  in  the 
Agony  in  the 
ch  School,  this 
irtist.  Do  not 
Its  collected  in 
omewhat  later 

Qoulon.    The 

room  embraces 
e  work  of  the 
id  of  his  equally 
esent  the  plastic 
centre  is  Jean 
id  stag  ;  it  was 
comes  from  her 
al  lover.    (Note 
I  is  a  destroyed 
irve  on  the  base 
n  contemporary 
«rs  and  cray-fish 
la  herself  strikes 
ture.     Beautiful, 
stinctive  French 
)ntains  in  it  the 
inesis  of  the  i8th 
commerce.    Step 
mph  of  Fontaine- 
see  how  far  the 
d  how  much  the 
Walk  round  and 
hant  work  of  the 
ions  to  the  Diana 
ght  to  France  by 
ique,  as  'vell  as  to 


REXAISSAIVCE   PARIS  (THE  LOUVRE)      183 

Perhaps  still  more  beautiful  is  the  exquisite  **group  of  the 
Three  Graces,  supporting  an  urn,  by  Germain  Pilon,  intended  to 
contain  the  heart  of  Henry  II,  and  commissioned  by  Catherine 
de  Mddicis.  It  once  stood  in  the  Church  of  the  Cclestines. 
Here  again  one  sees  the  delicacy  and  refinement  of  the  French 
Renaissance,  with  fewer  marks  of  its  inherent  defects  than  in 
Jean  Goujon's  statue.  Sit  long  and  study  this  exquisite  trio— 
which  the  Celestinespiouslydescribedas  the  Theological  Virtuii. 
Walk  round  it  and  observe  the  admirably  natural  way  in  which 
the  figures  are  united  by  their  hands  in  so  seemingly  artificial  a 
position.  The  charming  triangular  pedestal  is  by  the  Floren- 
tine  sculptor,  Domenico  del  Barbiere. 

The  third  object  in  the  centre  of  the  room  is  the  exquisite 
group  of  the  **Four  Theological  Virtues,  in  wood,  also  by 
Germain  Pilon,  which,  till  the  Revolution,  supported  the  re- 
liquary containing  the  remains  of  Ste.  Genevieve,  in  St. 
£tienne-du-Mont,  and  earlier  still  in  the  old  church  now  re- 
placed by  the  Panthdon.  These  are  probably  the  finest  figures 
ever  executed  in  this  difficult  material.  The  faces  and  attitudes 
deserve  from  every  side  the  closest  study.  If  you  have  entered 
into  the  spirit  of  these  three  great  groups  in  the  centre  of  this 
room,  you  have  succeeded  in  understanding  the  French  Renais- 
sance. 

Now,  begin  at  the  further  wall,  in  the  body  of  the  Salic,  and 
observe,  first,  the  exquisite  reliefs  of  *Tritons  and  Nereids, 
with  **Nymphs  of  the  Seine,  by  Jean  Goujon.  Read  the  labels. 
We  shall  visit  hereafter  the  Fountain  of  which  these  graceful 
and  delicate  reliefs  once  formed  a  portion.  The  Nymph  to  the 
L  is  one  of  the  loveliest  works  ever  produced  by  its  sculptor, 
and  is  absolutely  redolent  of  Renaissance  spirit.  It  indicates 
the  change  which  had  come  over  French  handicraft,  under  the 
influence  of  its  Italian  models,  at  the  same  time  allowing  the 
national  spirit  to  shine  through  in  a  way  which  it  never  suc- 
ceeded in  doing  in  contemporary  painting.  Beneath  it  are  two 
noble  figures  in  bronze,  from  the  tomb  of  Christopher  de  Thou, 
attributed  to  an  almost  equally  great  artist,  Barthdlemy  Prieur. 
Frdmin  Roussel's  Genius  of  History  still  more  markedly  an- 
ticipates more  recent  French  tendencies.  It  is  intensely  modern. 
Germain  Pilon's  monumental  bronze  of  Rend  Birague  prepares 


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[in. 


us  for  the  faults  of  the   French  works  of  this  style  in  the 
Louis  XIV  period.     Mere  grandiosity  and  ostentation  are  here 
foreshadowed.    The  centre  of  the  next  wall  is  occupied  by 
Germain  Pilon's  fine  chimney-piece,  -vith  Jean  Goujon's  bust 
of  Henri  II  as  its  central  object.    The  decorative  Renaissance 
work  on  this  mantel  should  be  closely  studied,  as  well  as  that— 
so  vastly  inferior— on  the  adjacent  later  columns  of  the  age  of 
Louis  XIV.     Barthelemy  Prieur's  exquisite  bronzes  from  the 
tomb  of  the  Constable  Anne  de  Montmorency  also  breathe 
a  profoundly  French  spirit.     The  figures  represent  Justice, 
Courage,  and  Abundance.     Germain  Pilon's  too  tearful  Mater 
Dolorosa    (painted    terra-cotta)    close    by,    from    the    Sainte 
Chapelle,  indicates  the  beginnings  of  modern  French  taste  m 
church  furniture.     His  recumbent  tomb  of  Valentine  Balbiani, 
on  the  other  hand,  is  admirable  as  portraiture  ;  but  the  genius 
of  the  artist  is  only  fully  displayed  in  the  repulsive  figure  of 
th(j  same  body  seen  emaciated  in  death  and  decomposition 
beneath  it.      Barthelemy  Prieur's  recumbent  figure  of  Anne 
de  Montmorency  shows  survival  of  the  older  type,  doubtless 
due  to  the  prejudices  of  patvons. 

Above  it  is  an  admirable  p'ece  of  Renaissance  sculpture,  by 
Jean  Goujon,  for  the  decoraticn  of  the  rood-loft  (now  removed) 
in  St.  Germain  I'Auxerrois.    The  rare  beauty  of  the  existing 
one  at  St.  itienne- -^u-Mont  (by  a  far  inferior  artist)  enables 
us  to  estimate  the  loss  we  huve  sustained  by  its  disappearance. 
The  Deposition,  in  the  centre,  marked  by  the  highly  classical 
style  and  secular  or  almost  sensuous  beauty  of  its  Maries,  and 
the  anatomical  knowledge  displayed  in  its  Dead  Christ,  should 
be  contrasted  with  eariier  specimens  in  adjacent  rooms.     In 
the  accompanying  figures  of  the  four  Evangelists,  notice  how 
earlier  conceptions  of  the  writers  and  their  attendant  symbols 
have  been  altogether  modified  by  a  Raphaelesque  spirit.    You 
would  scarcely  notice  the  eagle,  angel,  bull,  and  lion  (compare 
Sacchi  upstairs),  unless  you  were  told  to  look  for  them.     Ger- 
main Pilon's  Agony  in  the  Garden  displays  an  exactly  similar 
transformation  of  a  traditional  subject. 

Some  interesting  works  are  placed  near  the  windows.  In 
the  first  is  a  fragment  from  the  pulpit  of  the  Church  of  the 
Grands  Augustins  in  Paris,  by  Germain   Pilon,  representing 


•^Ai— 


[in. 


III.]     RENAISSANCE  PARIS  {THE  LOUVRE)       185 


his  style  in  the 
entation  are  here 
is   occupied   by 
in  Goujon's  bust 
tive  Renaissance 
as  well  as  that — 
jns  of  the  age  of 
)ronzes  from  the 
icy  also  breathe 
•epresent  Justice, 
;oo  tearful  Mater 
From    the    Sainte 
1  French  taste  in 
ilentine  Balbiani, 
; ;  but  the  genius 
epulsive  figure  of 
id  decomposition 
t  figure  of  Anne 
:r  type,  doubtless 

ince  sculpture,  by 
jft  (now  removed) 
ty  of  the  existing 
or  artist)  enables 
its  disappearance, 
le  highly  classical 
of  its  Maries,  and 
lead  Christ,  should 
jacent  rooms.     In 
jelists,  notice  how 
attendant  symbols 
esque  spirit.    You 
and  lion  (compare 
3k  for  them.     Ger- 
3".  exactly  similar 

the  windows.     In 

the  Church  of  the 
Pilon,  representing 


Paul  Preaching  at  Athens.  The  bald  head  and  long  beard 
of  the  Apostle  of  the  Gentiles  are  traditional ;  the  figure  is 
modelled  on  Italian  precedents  ;  here  again  the  female  auditors 
are  introduced  entirely  in  the  classical  spirit,  and  treated  with 
Renaissance  love  for  exuberant  femii.inity.  Nominally  sacred, 
such  works  as  this  are  really  nothing  more  than  sensuous  and 
decorative  in  their  tendencies.  The  Church  accepted  them 
because  they  were  supposed  to  be  artistic.  Other  fragments 
opposite  exemplify  the  same  baneful  tendency,  pregnant  with 
decadence.  Christ  and  the  Woman  of  Samaria  (with  her 
classical  urn)  is  a  subject  we  have  already  met  with  elsewhere  : 
here,  it  is  much  permeated  by  Renaissance  feeling.  The 
Preaching  of  St.  John  Baptist  gives  the  artist  an  opportunity 
for  introducing  two  attractive  female  listeners.  In  the  second 
window,  the  contrast  between  the  comparatively  archaic  St. 
Eloi  from  Dijon,  and  the  Nymphs  of  the  school  of  Jean  Goujon, 
is  sufficiently  abrupt  to  point  its  own  moral.  Germain  Pilon's 
Entombment  may  be  instructively  compared  with  Jean  Goujon's 
and  others  ;  the  Magdalen  here  is  an  admirable  figure.  Glance 
across  from  one  to  the  other  and  note  the  resemblance.  Even 
at  this  late  date^  how  rlose  is  the  similarity  in  the  attitudes 
of  the  chief  actors  1  They  almost  correspond  figure  for  figure  : — 
Joseph  of  Arimathasa,  and  then  Nicodemus,  supporting  the 
dead  Christ ;  next,  the  fainting  Madonna,  in  the  arms  of  one 
of  the  Maries ;  then,  the  Magdalen  at  the  foot,  with  her  box 
of  ointment,  and  the  mourning  women  ;  all  stand  in  the  same 
relations  in  the  two  reliefs.  If  you  will  compare  both  paint- 
ings and  sculptures  in  this  manner,  you  will  learn  how  much 
the  artist  borrowed  in  each  case  from  predecessors,  and  exactly 
how  much  is  his  own  invention.  Opposite  the  Entombment 
are  other  Nymphs  of  the  school  of  Jean  Goujon,  and  a  charac- 
teristic transitional  figure  of  a  Donor  and  his  Family,  showing 
a  distinct  attempt  to  treat  an  old  motive  by  the  new  methods  ; 
L  the  Donor,  kneeling,  introduced  by  his  patron,  St.  John 
Baptist ;  R,  two  ladies  of  his  family,  introduced  by  a  sainted 
bishop  and  an  abbot ;  near  them,  their  children,  kneeling,  but 
with  some  genial  allowance  for  the  sense  of  tedium  in  infancy  ; 
in  the  background,  Renaissance  architecture,  with  quaint  bas- 
reliefs  of  Samson  carrying  off  the  gates  of  Gaza  ;  the  Resur- 


<^ 


■■■■ 
i86 


PARIS 


[III. 


rection  and  Appearance  to  the  Apostles;  the  Supper  at  Emmaus; 
and  Jonah  emerging  from  the  mouth  of  the  whale.    Works 
like  these,  often  artistically  of  less  importance,  nevertheless  not 
infrequently  throw  useful  light  on  the  nature  of  the  conditions 
under  which  the  sculptor  worked— the  trammels  of  tradition, 
the  struggle  to  wriggle  out  of  the  commands  of  a  patron,  who 
desires  to  see  reproduced  the  types  of  his  childhood.    The 
third  window  contains  some  charming  but  mutilated  frag- 
ments from  the  tomb  of  the  Due  de  Guise  :  more  figures  by 
Germain  Pilon;  and  a  thoroughly  Renaissance  Awakemng  of 
the  Nymphs,  attributed  (with  little  doubt)  to  Frdmin  Roussel. 
Germain  Pilon's  good  bust  of  Charles  IX  strikes  the  keynote 
of  the  king's  vain  and  heartless  character.    The  baby  Christ, 
by  Richier,  though  evidently  suffering  from  water  on  the  brain, 
is  otherwise  a  charming  early  French  conception  of  soft  inno- 
cence and  infantile  grace.     Notice,  above  this,  a  somewhat 
transitional  Pieth,  placed  as  a  votive  offering  (like  so  many 
other  things)  in  the  (old)  church  of  Ste.  Genevieve,  with  the 
kneeling  donor  represented  as  looking  on,  after  the  earlier 
fashion    The  Judgment  of  Daniel,  attributed  to  Richier,  though 
splendid  in  execution,  forms  an  example  of  the  more  crowded 
and    almost  confused    composition  which  was   beginning  to 
destroy  the  unity  and  simplicity  of  plastic  art.    As  a  whole, 
the  works  in  this  room  should  be  attentively  and  closely  studied, 
illustrating  as  they  do  the  one  exquisite  moment  of  perfect 
fruition,  when  the  French  Renaissance  burst  suddenly  into  full 
flower,  to  be  succeeded  almost  at  once  by  painful  degeneracy 
and  long  slow  decadence.     I  would  specially  recommend  you 
to  compare  closely  the  more  classical  works  of  this  room  with 
those  in  the  adjoining  Salle  de  Michel  Ange  in  order  to  recog- 
nise the  distinctively  French  tone  as  compared  with  the  Italian. 
The  importance  of  these  various  rooms,  of  both  nationalities, 
to  a  comprehension  of  Paris  and  French  art  in  general,  cannot 
be  over-estimated.    By  their  light  alone  can  you  fully  under- 
stand  the  fabric  of  the   Louvre  itself,  the  Luxembourg,  the 
Renaissance  churches,  the  tombs  at  St.  Denis,  and  above  all, 
Fontainebleau,  St.  Germain,  Versailles  itself,  and  the  entire 
development  of  architecture  and  sculpture  from  Francois  1" 
to  the  Revolutionary  epoch.    Especially  should  you  always 


<i^ii4_ 


[III. 


III.]     RENAISSANCE  PARIS  (THE  LOUVRE)      187 


jperat  Emmaus; 

whale.    Works 
nevertheless  not 
(f  the  conditions 
lels  of  tradition, 
of  a  patron,  who 
childhood.    The 
;  mutilated  frag- 
more  figures  by 
:e  Awakening  of 
Fr«;n\in  Roussel. 
rikes  the  keynote 
rhe  baby  Christ, 
ater  on  the  brain, 
tion  of  soft  inno- 
:his,  a  somewhat 
ig  (like  so  many 
inevifeve,  with  the 

after  the  earlier 
to  Richier,  though 
the  more  crowded 
vas  beginning  to 
art.  As  a  whole, 
nd  closely  studied, 
noment  of  perfect 

suddenly  into  full 
)ainful  degeneracy 
ly  recommend  you 

of  this  room  with 
;  in  order  to  recog- 
;d  with  the  Italian, 
both  nationalities, 

in  general,  cannot 

n  you  fully  under- 

Luxembourg,  the 

mis,  and  above  all, 

:lf,  and  the  entire 

from  Francois  1" 
should  you  always 


bear  in  mind  the  importance  of  works  from  the  CnAteau  de 
Gaillon  (early)  and  Chdte;  •.  d'Anet  (full  French  Renais.-.ance). 

In  the  vestibule,  as  you  pass  out,  notice  a  copy  in  bronze, 
probably  by  Barthdlemy  Prieur,  of  *he  antique  Huntress  Diana, 
the  original  of  whii.n  we  have  already  noticed  in  the  Classical 
Gallery.  It  helps  to  accentuate  the  direct  dependence  of  French 
Renaissance  sculpture  upon  the  classical  model  as  well  as  upon 
that  of  the  contemporary  Italians.  Observe  that  while  each 
of  these  arts  is  based  upon  the  antique,  it  neccssprily  follows 
the  antique  models  i/wn  and  there  known  to  it— not  the  "  Venus 
of  Milo"  discovered  in  1820,  or  the  figures  from  Olympia  of 
quite  recent  discovery. 

3.    MODERN  SCULPTURE. 

This  collection  is  entered  by  a  separate  door  in  the  Cour  du 
Louvre,  marked  E  on  Baedeker's  plan.  It  takes  up  the 
development  of  French  plastic  art  at  the  point  where  the  last 
collection  leaves  off.  It  is,  however,  of  vastly  inferior  interest, 
and  should  only  be  visited  by  those  who  have  time  to  spare 
from  more  important  subjects.  The  decline  which  aiTected 
French  painting  after  the  age  of  the  early  Renaissance  had 
even  more  disastrous  effects  in  the  domain  of  sculpture.  I 
will  not,  therefore,  enumerate  individual  works  in  these  rooms, 
but  will  touch  briefly  on  the  characteristics  of  the  various 
epochs  represented  in  the  various  galleries. 

The  Salle  de  Puget  contains  sculptures  of  the  rge  of  Louis 
XIII  and  XIV,  for  the  most  part  theatrical,  fly-away,  and 
mannered.  They  are  grandiose  with  the  grandiosity  of  the 
school  of  P.ernini;  unreal  and  over-draperied.  Like  contem- 
porary painting,  too,  they  represent  official  or  governmental 
art,  with  a  courtier-like  tendency  to  flattery  of  monarchy, 
general  and  particular.  A  feeble  pomposity,  degenerating  into 
bombast,  strikes  their  keynote.  Few  works  in  this  room  need 
detain  the  visitor. 

The  Salle  de  Coyzevox  continues  the  series,  with  numerous 
portrait-busts  of  the  celebrities  of  the  age  of  Louis  XIV, 
mostly  insipid  and  banal.  The  decline  goes  on  with  accele- 
rated rapidity. 

The  Salle  des  CoustoUf  mostly  Louis  XV,  marks  the  lowest 


tL^t" 


m 


i88 


PARIS 


[HI. 


depth  of  the  degradation  of  plastic  art,  here  reduced  to  the 
level  of  Palais  Royal  trinkets.  It  represents  the  worst  type  of 
i8th  century  handicraft,  and  hardly  contains  a  single  passable 
statue  Its  best  works  are  counterparts  in  marble  of  Boucher 
and  Greuze,  but  without  even  the  touch  of  meretricious  art 
which  colour  and  cleverness  add  to  the  craft  of  those  boudoir 
artists.  Few  of  them  rise  to  the  level  of  good  Dresden  china. 
The  more  ambitious  lack  even  that  mild  distinction. 

The  Salle  de  Houdon,  of  the  Revolutionary  epoch,  shows 
a  slight  advance  upon  the  preceding  (parallel  to  the  later  work 
of  Greuze),  and  is  interesting  from  its  portrait-busts  o 
American  statesmen  and  French  republican  leaders  Some  of 
the  ideal  works,  even,  have  touches  of  grace,  and  a  slightly 
severer  taste  begins  to  make  itself  apparent.  The  classical 
neriod  is  foreshadowed. 

The  Salle  de  Cliaudet,  of  the  First  Empire,  answers  m  sculp- 
ture to  the  School  of  David  in  painting.  It  is  cold,  dignified, 
reserved,  and  pedantic.  It  imitates  (not  always  at  all  success- 
fully) the  antique  ideals.  The  best  works  in  this  room  are 
Canova's;  but  the  intention  is  almost  always  better  than  the 
execution.  A  sense  of  chilly  correctness  distinguishes  these 
blameless  academic  works  from  the  natural  grace  and  life  of 
antique  Greek    sculptors.    They  lie  under  the  curse  which 

pursues  revivals.  .     ,  ,     „    .      .• 

The  Salle  de  Rude  contains  plastic  work  of  the  Restoration, 
the  July   Monarchy,   and   the  Second  Empire.    It   answers 
roughly  to  the  romantic  School  of   Delaroche   m  painting. 
Several  of  these  almost  contemporary  works  have  high  merit, 
though  few  of  them  aim  at  that  reposeful  expression  which  is 
proper  to  sculpture.    Some,  indeed,  trench  upon  the  domain 
of  painting  in  their  eager  effort  to  express  passing  emotion 
and  action.    Picturesqueness  and  sensuousness  are  their  pre- 
vailing features.     Nevertheless,  the  room,  as  a  whole,  exhibits 
the  character  of  a  real  renaissance,  such  as  it  ,s,  from  the 
mediocrity  of  the  last  century,  and  the  bleak  propriety  of  the 
classical  revival.    Too  many  of  the  works,  however,  are  aimed 
at  the  taste  of  the  Boulevards.    They  foreshadow  that  feeling 
which  makes  too  much  modern  sculpture  attempt  to  catch 
the  public  by  flinging  away  everything  that  is  proper  to  the 


aisaaatBA^im 


[III. 

reduced  to  the 
he  worst  type  of 
I  single  passable 
arble  of  Boucher 
meretricious  art 
of  those  boudoir 
1  Dresden  china, 
tinction. 

ary  epoch,  shows 
to  the  later  work 
portrait-busts  of 
eaders.  Some  of 
e,  and  a  slightly 
»t.    The  classical 

,  answers  in  sculp- 

is  cold,  dignified, 

ays  at  all  success- 

in  this  room  are 

s  better  than  the 

istinguishes  these 

grace  and  life  of 

the  curse  which 

)f  the  Restoration, 
pire.     It    answers 
oche   in  painting. 
s  have  high  merit, 
xpression  which  is 
upon  the  domain 
i  passing  emotion 
ess  are  their  pre- 
3  a  whole,  exhibits 
as  it  is,  from  the 
ik  propriety  of  the 
lowever,  are  aimed 
ladow  that  feeling 
:  attempt  to  catch 
It  is  proper  to  the 


111.]      RENAIiiSANCE  PARIS  {THE  LOUVRE)      189 

art.  The  desire  for  novelty  is  allowed  to  override  the  sense  of 
beauty  and  of  just  proportion  :  repose  is  lost ;  dignity  and 
serenity  give  place  to  cleverness  of  imitation  and  apt  catching 
at  the  momentaiy  expression. 


III.     THE  SMALLER  COLLECTIONS. 

The  other  collections  at  the  Louvre  appeal  for  the  most 
part  rather  to  the  specialist  than  to  the  general  public.  They 
are  for  workers,  not  for  sight-seers.  The  Egyptian  Museum, 
for  example,  to  the  L  as  you  enter  the  Cour  du  Louvre  by  the 
main  entrance,  contains,  perhaps,  the  finest  collection  of  its 
sort  in  all  Europe.  You  must,  of  course,  at  least  walk  through 
it— especially  if  you  have  not  seen  the  British  Museum.  The 
objects,  however,  are  sufficiently  indicated  for  casual  visitors 
by  means  of  the  labels  ;  they  need  not  be  enumerated.  The 
opposite  wing,  to  the  R  as  you  enter,  contains  the  Assyrian 
Collection,  inferior  on  the  whole,  especially  in  its  bas-reliefs, 
to  that  in  the  British  Museum.  Beyond  it,  again,  to  the  kft, 
lie  a  group  of  rooms  devoted  to  the  intermediate  region 
between  the  spnere  of  Assyrian  and  Greek  art.  These 
rooms  ought  certainly  to  be  examined  by  any  who  wish  to 
form  some  idea  of  the  origin  and  development  of  Hellenic 
culture.  The  first  two  rooms  of  the  suite  contain  Phoenician 
works,— important  because  the  Phoenicians  were  the  precur- 
sors of  the  Greeks  in  navigation  and  commerce  in  the 
Mediterranean,  and  because  early  Greek  art  was  largely  based 
on  Phoenician  imitations  of  Assyrian  and  Egyptian  work,  or 
on  actual  Egyptian  and  Assyrian  objects  imported  into  Hellas 
by  Phoenician  merchants.  These  Semitic  seafarers  had  no 
indigenous  art  of  their  own ;  but  they  acted  as  brokers 
between  East  and  West,  and  they  skilfully  copied  and  imitated 
the  principal  art-products  of  the  two  great  civilisations  on 
whose  confines  they  lay,  though  often  without  really  under- 
standing their  true  import.  The  Phoenicians  were  thus  the 
pioneers  of  civilisation  in  the  Eastern  Mediterranean. 

Room  IV,  beyond  these  two,  contains  more  Phoenician 
antiquities,  and  others  from  Cyprus,  an  island  inhabited  by 
Greeks  or  half  Greeks,  but  one  in  which  this  imported  Oriental 


i 


190 


PARIS 


[III. 


culture   earliest   took   root  and    produced  native    imitations. 
Examine  these  objects  as  leading  up  to,  and  finally  correct- 
ing, the  archaic  Greek  work  ill  represented  by  a  few  objects 
in  the  Salle  de  Phidias.    The  Salle  de  Mllet,  beyond,  con- 
tains   Greek   antiquities    from    Asia  Minor,   some  of  which 
indicate  transition  from  the  Assyrian  to  the   Hellenic  type. 
Examine    these    from    the    point    of   view    of   development. 
The   reliefs   from  the    temple  of   Assos  in   Mysia   show  an 
early  stajje  in  the  evolution  of  Asiatic  Greek  art.    Compare 
them  with  the  archaic  objects  in  the  Salle  de   Phidias.     It 
must  be  borne  in  mind  that  civilised  art  entered  Greece  from 
Assyria,  by    way  of  Phoenicia,  the   Hittites,  Lydia,  Phrygia, 
the    Ionian    cities  in  Asia  Minor,  and  the   Islands    of   the 
Archipelago.    These  intermediate  rooms  should  therefore  be 
studied  in  detail  from  this  point  of  view,  dates  and  places 
being  carefully  noted,  as  illustrating  the  westward  march  of 
art  from  Nineveh  to  Athens.    The  last  hall  of  the  suite,  the 
5alle  de  Magn^sle,  on  the  other  hand,  contains  works  from 
Ephesus  of  a  late  Greek  period,  representing  rather  a  slight 
barbaric  deterioration  than  a  transitional  stage.    These  collec- 
tions, most  important  to  the  student  of  Hellenic  culture,  may 
be  neglected  by  hurried  or  casual  visitors. 

The  Salle  Judalque,  to  the  right,  under  the  stairs,  contains 
the  scanty  remains  of  the  essentially  inartistic  Jewish  people, 
interesting  chiefly  from  the  point  of  view  of  Biblical  history. 
The  famous  and  much-debated  Moabite  Stone,  recording 
the  battles  of  King  Mesa  of  Moab  with  the  Jews  in  B.C.  896, 
is  here  preserved.  It  is  believed  to  be  the  earliest  existing 
specimen  of  alphabetic  as  opposed  to  hieroglyphic  or  ideo- 
graphic writing. 

There  is,  however,  one  group  of  objects  in  the  Louvre,  too 
seldom  visited,  which  no  one  should  omit  to  inspect  if  time 
permits  him.  This  is  the  admirable  **Dieulafoy  Collection 
of  Persian  Antiquities.  To  arrive  at  it,  go  to  the  front  of 
the  Old  Louvre,  facing  St,  Germain  I'Auxerrois,  as  for  the 
previously  noted  series.  Enter  by  the  principal  portal,  and 
turn  to  the  R,  through  the  Assyrian  collection,  whose  winged 
bulls  and  reliefs  of  kings  you  may  now  inspect  in  passing, 
if  you  have  not  done  so  previously.     Mount  the  staircase  at 


III.] 

the 
you 
tion 
1 
(of 
tho! 
of  1 
oft 
of 
insc 
spl( 
giv( 
spl( 
cole 
strc 
yell 
prei 
fraj 
the 
tie 
con 
and 
Mn 
cno 
maj 
ade 
of  £ 

1 

the 
eith 
the 
tot 
wh£ 
this 
eve: 
lioi 
pict 
an  i 
else 


[III. 

itive    imitations. 

1  finally  correct- 
)y  a  few  objects 
>t,  beyond,  con- 
some  of  which 

;  Hellenic  type, 
of  development. 
Mysia  show  an 
k  art.    Compare 

de  Phidias.  It 
red  Greece  from 

Lydia,  Phrygia, 

Islands  of  the 
u!d  therefore  be 
lates  and  places 
istward  march  of 

of  the  suite,  the 
tains  works  from 
g  rather  a  slight 
;c.  These  coUec- 
enic  culture,  may 

le  stairs,  contains 
ic  Jewish  people, 
f  Biblical  history. 
Stone,  recording 
Jews  in  B.C.  896, 

2  earliest  existing 
jglyphic  or  ideo- 

n  the  Louvre,  too 
:o  inspect  if  time 
;ulafoy  Collection 
fo  to  the  front  of 
errois,  as  for  the 
ncipal  portal,  and 
ion,  whose  winged 
jspect  in  passing, 
t  the  staircase  at 


III.]       RENAISSANCE   PARIS  (THE  LOUVRE)      I9I 

the  end,  and,  at  the  landing  on  the  top,  turn  to  your  i.,  when 
you  will  find  yourself  at  once  face  to  face  with  the  collec- 
tion. 

The  First  Room  contains  merely  Gra:co- Babylonian  objects 
(of  a  different  collection)  which  need  only  be  inspected  by 
those  whose  leisure  is  ample.  They  illustrate  chiefly  the  effect 
of  Hellenic  influence  on  Asiatic  models.  On  the  entrance  wall 
of  the  Second  Room  is  the  magnificent  *Frieze  of  Archers 
of  the  Immortal  Guard,  in  encaustic  tiles,  with  cuneiform 
inscriptions,  from  the  Throne  Room  of  Darius  I.  This 
splendid  work,  mere  fragment  though  it  is  of  the  original, 
gives  in  its  colour  and  decorative  detail  some  idea  of  the 
splendour  of  the  Palace  of  the  Persian  monarchs.  The 
colours  are  those  still  so  prevalent  in  Persian  art,  showing  a 
strong  predominance  of  blues  and  greens,  with  faint  tones  of 
yellow,  over  red  and  purple,  which  latter,  indeed,  are  hardly 
present.  Round  the  rest  of  the  \'alls  are  ranged  decorative 
fragments  from  the  Palace  of  Artaxerxes  Mncmon.  Opposite 
the  archers  is  another  magnificent  frieze  of  angry  lions,  from 
tie  summit  of  the  portals  in  the  last-named  palace.  The  next 
compartment  of  the  same  room  contains  the  ^Base  of  a  Column 
and  a  ^^Capltal  of  the  same,  also  from  the  Palace  of  Artaxerxes 
Mnemon  :— two  figures  of  bulls  supporting  between  them  the 
enormous  wooden  rafters  of  the  ceiling.  These  gigantic  and 
magnificent  figures  form  perhaps  the  most  effective  and 
adequate  supports  for  a  great  weight  to  be  tound  in  any  school 
of  architecture. 

The  next  room  contains  the  admirable  reconstruction  of 
the  Palace,  when  entire,  showing  the  position  on  the  walls  of 
either  pylon,  and  the  manner  in  which  the  columns  supported 
the  colossal  roof.  If,  from  inspection  of  this  model,  we  return 
to  the  base  and  capitals  themselves,  we  shall  be  able  to  judge 
what  must  have  been  the  magnificent  and  gigantic  scale  of 
this  Titanic  building,  the  effect  of  which  must  have  thrown 
even  the  Temple  of  Karnac  into  the  shade.  At  the  side  are  a 
lion  and  winged  bull,  which  help  to  complete  the  mental 
picture.  This  collection,  unique  in  Europe,  serves  to  give  one 
an  idea  of  the  early  Persian  civilisation  which  can  nowhere 
else  be  obtained,  and  which  helps  to  correct  the  somewhat 


'»:^'.'»^^?-j-j- 


'i^tr.-^'e^ilir-  '■/irnt'^j.i* 


■^: 


MM 


m 


iK 


192 


PARIS 


[III. 


one-sided  idea  derived  from  Ihc  accounts  of  Greek  historians. 
On  no  account  should  you  miss  it. 

The  minor  ,rt.obJect»  of  the  Louvre,  though  of  mimcnse 
value  and  interest  in  themselves,  may  be  largely  exammed  by 
those  who  have  the  time  in  the  light  of  their  F^vous  work  at 
Cluny.    The  collection  of  drawings,  one  of  the  hnest  m  Europe, 
is  mostly  interesting  to  artists.   That  of  smaller  Medlieval  and 
Renaissance  Objects  contains  works  closely  ->-''-  V'J^"^^,^ 
Cluny,  including  admirable  Ivory-carvlngs,  fine  pottery  (tiie 
best  of  which  .s  that  by  Pallssy.  and  the  Henri   II  ware). 
together  with  Oriental  faience,  bronzes,  etc.    The  Greek  Vases, 
again,  of  which  this  Museum  contains  a  magnificent  collection, 
are  mainly  interesting  to  Hellenic  specialists.     P  or  the  casual 
visitor,  it  will  suffice  to  examine  one  or  two  o^  »^'«";;  J''; 
Etruscan  Antiquities  give  a  good  idea  of  ^^e  cw.lsat  on  of 
this  ancient  race,  from  which,  both  m  earlier  and  later  times, 
almosrall  the  art.  poetry,  and  science  of  Italy  has  proceeded. 
TZgh  entirely  based  upon  Greek  models,  the  Ltruscan  pro- 
ductions betray  high  artistic  faculty  and  great  -"-epLve  powe  s 
of  intellect.    Among  the  minor  Greek  works,  none  are  more 
interesting  than  the  beautiful  little  terra-cotta  figures  from 
TTnagr.  in  Boeotia.  which  cast  an  unexpected  light  on  one 
s^Se  of  "reek  art  and  culture.     Examine  them  as  supplement- 
^gthlcoUection  of  antique  sculpture.  These  ««"rlne,  asthey 
are  called,  were  produced  in  immense  quantities,  chiefly  in 
b"  o  ia  both  for  household  decoration  and  to  be  buried  with 
thtdead.  They  were  first  moulded  or  cast  in  clay,  but  they  were 
afterwaxds  finished  by  hand,  with  the  addition  of  just  such 
accessories  or  modifications  as  we  have  seen  to  obtain  m  the 
"e  of  the  statues  in  the  antique  gallery.  /'-"V^^^y  ^ 
gracefully  and  tastefully  coloured.    Nothing  better  indicates  the 
Srsality  of  high  art-feeUng  among  the  ancient  Greeks  than 
the  extraordinary  variety,  fancy,  and  beauty  of  these  cheap 
Ob  ects  of  every  day  decoration  ;  while  the  u-xpected  novelty 
Sen  by  the  slightest  additions  or  alterations  m  what    b  mg 
moulded)  is  essentially  the  same  figure  throws  a  flood  of  lig^ 
upon  the  methods  of  plastic  art  in  higher  departments.     Look 
out  for  these  exquisite  little  figures  as  you  pass  through  the 
(ler  rooms  on  the  South  Side  of  the  old  Cour  du  Louvre,  on 


[in. 


Ill]      RENAISSANCE  PARIS  {THE  LOUVRE)      193 


rtek  historians. 

gh  of  immense 
ily  examined  by 
)revious  work  at 
finest  in  Europe, 
r  MediKval  and 
milar  to  those  at 
ne  pottery  (the 
lenrl  II  ware), 
le  Greek  Vases, 
ificent  collection, 
p'or  the  casual 
)  of  them.  The 
iie  civilisation  of 

and  later  times, 
y  has  proceeded, 
he  Etruscan  pro- 

receplive  powers 
5,  none  are  more 
ta  figures  from 
ted  light  on  one 
m  as  supplement- 
[igurlnes,  as  they 
ntities,  chiefly  in 

0  be  buried  with 
:lay,  but  they  were 
tion  of  just  such 

1  to  obtain  in  the 
Finally  they  were 
)etter  indicates  the 
icient  Greeks  than 
ty  of  these  cheap 
inexpected  novelty 
ns  in  what  (being 
ws  a  flood  of  light 
epartments.     Look 

pass  through  the 
;our  du  Louvre,  on 


tiie  First  Floor.  Most  of  them  will  be  found  in  Room  L  of 
Baedeker's  plan.  Almost  every  visitor  is  equally  surprised  and 
charmed  by  their  extremely  modern  tone  of  feeling.  They  are 
alive  and  human.  In  particular,  the  playfulness  of  Greek  art 
is  here  admirably  exemplifled.  Many  of  them  have  touches 
of  the  most  graceful  humour. 

Merc,  again,  do  not  suppose  that  because  I  do  not  specify, 
these  minor  works  of  art  are  of  little  importance.  If  you  have 
time,  examine  them  all :  but  you  must  do  so  by  individual  care 
and  study. 

The  neighbouring  5alle  des  Bijoux  contains  beautiful  antique 
jewellery  ;  do  not  miss  the  very  graceful  gold  tiara  presented 
to  the  Scythian  King  Saitaphernes  by  the  Greek  city  of  Olbia 
in  the  Crimea— a  lovely  work  of  the  3rd  century  B.C.  Its 
authenticity  has  been  disputed,  but  not  its  beauty. 

The  Qalerle  [d'Apollon  contains,  among  many  objects  of 
considerable  interest,  the  Reliquary  which  encloses  the  Arm  of 
Charlemagne— who,  having  been  canonized,  was  duly  entitled 
to  such  an  honour.  The  Reliquary  of  St.  Henry,  and  the 
Chasse  of  St.  Louis  are  also  well  worthy  of  inspection.  Notice, 
too,  the  Hand  of  Justice,  used  at  the  coronation  of  the  French 
Kings.  But  all  these  objects  can  only  be  properly  studied,  by 
those  who  wish  to  investigate  them,  with  the  aid  of  the  official 
catalogue.  I  shall  recur  at  greater  length  to  a  few  of  them  after 
our  return  from  St.  Denis. 

When  you  have  learnt  Paris  well,  go  often  to  and  fro  between 
these  rooms  of  the  Louvre,  the  Mediaeval  and  Renaissance 
Sculpture,  the  halls  at  Cluny  (particularly  Room  VI,  with  its 
French  architectural  work),  and  the  older  churches,  such  as  St. 
Germain-des-Pr^s,  Notre-Dame,  St.  Denis,  etc.  Thus  only 
can  you  build  up  and  consolidate  your  conceptions. 

A  special  small  collection,  to  which  part  of  a  day  may  well  be 
devoted,  is  the  Early  Christian  Sculpture,  to  which  I  have 
already  briefly  alluded,  in  the  first  room  to  the  R  as  you 
enter  the  Renaissance  Galleries  in  the  Cour  du  Louvre. 

The  centre  of  the  hall  is  occupied  by  a  good  Early  Christian 
sarcophagus,  with  a  cover  not  its  own,  sufficiently  described 
as  to  origin  on  the  label.    The  front  towards  the  window 

N 


PARIS 


[lU 


represents  the  True  Vine,  surrounding  the  "  X  P,"  which  form 
the  first  two  letters  of  the  name  of  Christ  in  (ireek,  inscribed  m 
!i  solar  circle,  and  with  the  Alpha  and  OmcRa  on  either  side  of 
it.  This  figure,  repeated  on  various  works  in  this  room  in 
sliylilly  dilfercnt  shapes,  is  known  as  a  Labsrum.  U  forms, 
after  Consiantine  (who  adopted  it  as  his  emblem  and  that  of 
the  Christianized  Empire),  the  most  frequent  symbol  on  early 
Christian  monuments.  Note  modern  reproductions  on  the 
frieze  of  this  apartment.  Its  variations  are  numerous.  At  the 
ends,  are  other  True  Vines  and  a  better  Labarum,  with  a  Star 
of  Ikthlehem.    The  back  has  the  same  devices  repeated. 

Wall    nearest  the  entrance,  several    inscriptions,   among 
which  notice  the  frequency  of  the  Labarum,  w'.th  the  two  birds 
pecking  at  it,— a  common  Early  Christian   Symbol.     UrIow 
them,  good  early  sarcophagus.      On  its  end,  remote  from 
window,  Daniel  in  the  Lions'  Uen,  a  traditional  representation, 
of  which   an  extremely   rude    barbaric  degradation    may  be 
noticed,  high  up,  near  the  door  which  leads  into  the  Delta 
Robbia  room,  adjacent.     In  Early  Christian  art  certain  sub- 
jects from  the  Old  and  New  Testaments  became  convention- 
alised, and  were  repeated  on  numerous  works  ;  of  which  this 
scene  of    Daniel    is  an  example.      Observe  here  that    Old 
Testament  subjects  are  frequent ;  while  Madonnas  are  rare, 
and  saints  almost  unknown.      Further  on,  on  the    ground, 
sarcophagus  representing  Christ  with  the  Twelve  Apostles. 
The  treatment  here,  in  spite  of  slight  Oriental  tendencies  (com- 
pare the  Mithra  reliefs)  is  on  the  whole  purely  classical.     Now, 
the  great  interest  in  this  room  is  to  watch  the  way  in  which 
classical  styles  and  figures  passed  slowly  from  pagan  types  into 
Christian,  and  again  from  the  debased  classical  types  of  the 
later  Empire  into  those  of  Romanesque  or  Gothic  barbarity. 
As  an  example  of  this  surviving  pagan  element,  see,  on  the  wall 
to  the  R  of  this  sarcophagus,  Elijah  teken  up  to  Heaven  in  a 
chariot  of  fire,  and  leaving  his  mantle  to  Elisha.     Here,  the 
Jordan  is  represented,  in  truly  pagan  style,  by  a  river-god 
reclining  on  an  urn  and  holding  water-weeds.    Such  river-gods 
were  the  conventional  classical  way  of  representing  a  river  (see 
the  Tiber  here,  and  the  Nile  of  the  Vatican,  reproduced  in  the 
Vestibule) :  and  Christian  artists  at  first  so  represented  the 


iii.J 
Jord 

of  til 

Al 
an  e 
(rea( 
lacir 
note 
beau 
carv 

In 
very 
Chri 
a  si  I 
Con 
with 
(^hr 
of 
sarc 
mar 
cent 
Stan 
in  tl 
late 

A 
ami 
freq 
abs( 
that 
tone 
Thu 
tian 
oft! 
its  I 
supi 
to  tl 

wall 
and 
stuc 
T 


X  P,"  which  form 
rreek,  inscrilicd  in 
I  on  either  side  of 

in  this  room    in 
nrum.     It  forms, 
ibiem  and  that  of 
;  synibol  on  early 
oductions  on  the 
lumerous.     At  the 
arum,  with  a  Star 
ci  repeated. 
criptions,   among 
With  the  two  birds 
Symbol.     UrIow 
end,  remote  from 
nal  representation, 
rradation    may  be 
,ds  into  the  Delia 
n  art  certain  sub- 
ecame  convention- 
rks  ;  of  which  this 
vc  here  that    Old 
[adonnas  are  rare, 
1,  on  the    ground. 

Twelve  Apostles. 
al  tendencies  (com- 
ity classical.  Now, 
ti  the  way  in  which 
m  pagan  types  into 
issical  types  of  the 
r  Gothic  barbarity, 
ent,  see,  on  the  wall 

up  to  Heaven  in  a 

Elisha.  Here,  the 
i^le,  by  a  river-god 
Is.  Such  river-gods 
esenting  a  river  (see 
1,  reproduced  in  the 

so  represented  the 


II I.J      KENAISSANCE  PARIS  {THE  LOUVRE)     195 

Jordan,  as  in  the  Baptism  of  Christ  (in  mosaic)  in  the  Baptistery 
of  the  Orthodox  at  Ravenna. 

Above  the  sarcophagus  of  Christ  and  the  Twelve  Apostles  is 
an  e.\lremely  beautiful  altar*front  from  the  abbey  of  Si.  Denis 
(read  label)  with  a  cross  and  palm  tre-.s,  the  True  Vine  inter- 
l.icing  it,  and  the  characteristic  wave-pattern,  whii  h  you  may 
note  on  many  other  works  in  this  room.  'I'his  is  the  most 
beautiful  piece  of  early  Romanesque  or  intermediate  Christian 
carving  in  this  collection. 

In  the  centre  of  the  Elijah  wall,  below,  a  sarcophagus  with  a 
very  Oriental  figure  of  the  Qood  Shepherd— a  frequent  en.iy 
Christian  device.  Compare  this  figure  with  the  plaster  cast  of 
a  similar  statue  from  Rome,  near  the  Delia  Robbia  doorway. 
Compare  the  marked  Orientalism  of  face,  form,  and  foot-gear, 
with  the  Mi'.hra  reliefs.  Above  it,  Scenes  from  the  Life  of 
Christ :— Bljssing  the  Children,  Christ  and  Peter,  the  Woman 
of  Samaria.  etJ.  ;  treatment  quite  classical.  Still  higher, 
sarcophagus-front  of  Christ  and  the  Twelve  Apostles  ;  work- 
manship becoming  decadent ;  architectur  ,  classical  in  the 
centre,  passing  at  the  sides  into  early  Romanesque  or  Con- 
stantinian  and  DiocleHanesque,  as  in  some  of  the  other  examples 
in  this  room.  Lof  it,  Abraham's  Sacrifice  of  Isaac,  with  rather 
late  architecture. 

All  the  other  objects  in  this  room  should  be  carefully  ex- 
amined, and  their  place  of  origin  noted.  The  symbols  and  the 
frequent  Oriental  tinge  should  also  be  observed.  Likewise,  the 
absence  of  several  ideas  and  symbols  which  come  in  later.  Note 
that  there  are  no  crucifixions,  sufferings,  or  martyrdoms ;  the 
tone  is  joyous.  Many  of  the  minor  objects  have  their  own  value. 
Thus,  the  fish,  by  the  entrance  door,  is  a  common  Early  Chris- 
tian symbol,  because  the  Greek  word  IXGYS  formed  the  initials 
of  the  sentence,  "  Jesus  Christ,  Son  of  God,  the  Saviour"  ;  and 
its  sacred  significance  is  here  still  further  emphasised  by  the 
superimposed  cross— a  symbol,  however,  which  does  not  belong 
to  the  very  earliest  ages  of  Christendom.  So,  on  the  opposite 
wall  of  the  window,  notice  the  little  Daniel  in  the  Den  of  Lions, 
and  the  youthful  beardless  Christ  with  a  halo.  The  longer  you 
study  these  interesting  remains,  the  more  will  you  see  in  them. 

Those  who  have  had  their  interest  aroused  in  Early  Christian 


196 


PARIS 


[III. 


art  from  the  examination  of  this  room  will  find  the  subject  best 
pursued  at  Rome  (Catacombs  and  Lateran)  and  Ravenna,  where 
wc  can  trace  the  long  decline  from  classical  freedom  to  Byzan- 
tine stiffness  and  Gothic  barbarism,  as  well  as  the  slow  upward 
movement  from  the  depths  of  the  early  Romanesque  style  to  the 
precursors  of  the  Renaissance.  For  the  chronological  pursuit 
of  this  enticing  subject  the  best  order  of  visiting  is  Rome, 
Ravenna,  Bologna,  Pisa,  Siena,  Florence.  For  a  list  of  the 
extensive  literature  of  the  subject,  see  Dean  Farrar-s  Christ  in 
Art. 


[III. 


ind  the  subject  best 
,nd  Ravenna,  where 
freedom  to  Byzan- 
as  the  slow  upward 
ancsque  style  to  the 
ironological  pursuit 
f  visiting  is  Rome, 
For  a  list  of  the 
J  Farrar's  Christ  in 


IV 
THE  NORTH   BANK  (RIVE   DROITE) 

rT3)ARIS,  north  of  the  river, -which  is  for  most  purposes 
\^\^  the  practical  Paris  of  business  and  pleasure  (and  of 
the  ordinary  tourist)  at  the  present  day— has  grown  by  slow 
degrees  from  small  beginnings.  The  various  rings  of  its 
growth  are  roughly  marked  on  the  Map  of  Historical  Paris. 
The  wall  of  Philippe  Auguste  started  from  near  the  eastern- 
most end  of  the  <;xisting  Louvre,  and,  after  bending  inland 
so  as  just  to  enclose  the  Halles  Centrales,  reached  the  river 
again  near  the  upper  end  of  thp  tie  St.  Louis.  It  thus  en- 
circled the  district  immediately  opposite  the  primitive  islands  ; 
and  this  innermost  region,  the  Core  of  the  Right  Bank,  still 
contains  most  of  the  older  buildings  and  places  of  interest 
N.  of  the  river.  Etienne  Marcel's  walls  took  a  slightly  wider 
sweep,  as  shown  on  the  Map  ;  and  by  the  time  of  Louis  XIII. 
the  town  had  reached  the  limit  of  the  Great  Boulevards, 
which,  with  their  southern  prolongation,  still  enclose  almost 
everything  of  historical  or  artistic  interest  in  modem  Paris. 
The  fact  that  the  kings  had  all  their  palaces  in  this  northern 
district  was  partly  a  cause,  partly  perhaps  an  effect,  of  its  rapid 
predominance.  The  town  was  now  spreading  mainly  north- 
ward. 

The  increase  of  the  royal  power  brought  about  by  Richelieu, 
and  the  consequent  stability  and  internal  peace  of  the  kingdom, 
combined  with  the  complete  change  in  methods  of  defence 
which  culminated  in  Vauban,  enabled  Louis  XIV  to  pull  down 
the  walls  of  Paris  altogether,  and  to  lay  out  the  space  covered 
by  his  predecessor's  fortifications  in  that  series  of  broad  curved 
avenues  which  still  bears  from  this  circumstance  the  nam '  of 
Boulevards  ("bulwarks"  or  ramparts).     The  original  line  so 

107 


^9 


PARIS 


named,  from  the  Bastille  to  the  Madeleine,  is  ordinarily  spoken 
of  to  this  day  simply  as  "  the  Boulevard."    All  the  others  called 
by  the  same  have  borrowed  the  title,  mostly  at  a  very  recent 
date,  from  this  older  girdle.    Gradually,  the  Faubourgs  which 
gathered  beyond  the  line  of  the  inner  city,  as  well  as  beyond 
the  artificial  southern  prolongation  of  the  Boulevards  by  which 
Louis  continued  his  circle,  with  true  French  thoroughness  of 
system,  on  the  southern  bank,  have  entirely  coalesced  with  the 
central  town,  and  at  last  enormously  outgrown  it.    Neverthe- 
less, to  the  end,  the  Paris  of  Louis  XIV  continues  to  enclose 
almost  all  that  is  vital  in  the  existing  city.     Especially  is 
Paris  within  the  Great  Boulevards  to  this  day  the  Pans 
ot  business  and  finance  :  it  includes  the  Bourse,  the  Banque 
de  France,  the  Bourse  de  Commerce,  the  chief  markets,  the 
Post  Office,  the  Ministries  ot  Finance,  Marine,  and  Justice,  the 
Hotel  de  Ville,  numerous  Government  Offices,  the  principal 
wholesale  warehouses,  financial  firms,  and  agencies,  and  almost 
all  the  best  shops,  hotels,  banks,  and  business  houses. 

Even  the  inner  circle  itself,  again,  «//////«  the  Boulevards, 
has  been  largely  transformed  by  modem  alterations,  especially 
in  that  extensive  reorganisation  of  the  city  inaugurated  under 
Napoleon  III  by  Caron  Haussmann.  In  the  brief  itinerary 
which  follows,  and  in  which  I  have  endeavoured  to  give  the 
reader  in  two  short  rvalks  or  drives  some  general  idea  of  the 
development  of  the  Right  Bank,  with  its  chief  points  of  interest, 
I  shall  indicate  roughly  the  various  ages  of  the  great  thorough- 
fares,  and  note  with  needful  conciseness  the  causes  which  at 
various  times  led  to  their  construction.] 

A.  THE  CORE  OF  THE  RIGHT  BANK 
Start  from  the  Place  de  la  Concorde,  and  walk  eastward 
along  the  Rue  de  Rivoli,  in  the  direction  of  the  Louvre.  (If 
you  like,  the  top  of  an  omnibus  will  suffice  as  far  as  the  Hotel 
de  Ville.)  The  Place  de  la  Concorde  itself,  though  old  in 
essence,  is,  in  its  present  form,  quite  a  modern  creation,  having 
been  laid  out  in  1854  under  the  Second  Empire,  when  it  was 
decorated  with  the  8  seated  stone  figures,  wearing  mural  crowns, 
and  representing  the  chief  cities  of  France  including  Stras- 
bourg).   The  Luxor  obelisk  (age  of  Ramesc-  II)  was  erected 


[IV. 

ordinarily  spoken 
I  the  others  called 
'  at  a  very  recent 
Faubourgs  which 
IS  well  as  beyond 
ulevards  by  which 
1  thoroughness  of 
:oalesced  with  the 
wn  it.  Neverthc- 
itinues  to  enclose 
;y.  Especially  is 
lis  day  the  Paris 
ourse,  the  Banqiie 
chief  markets,  the 
le,  and  Justice,  the 
ices,  the  principal 
;encies,  and  almost 
s  houses. 

n  the  Boulevards, 
crations,  especially 
inaugurated  under 
the  brief  itinerary 
troured  to  give  the 
jeneral  idea  of  the 
f  points  of  interest, 
the  great  thorough- 
le  causes  which  at 

HT   BANK 

and  walk  eastward 
of  the  Louvre.  (If 
as  far  as  the  Hotel 
self,  though  old  in 
»rn  creation,  having 
mpire,  when  it  was 
aring  mural  crowns, 
:e  ^including  Stras- 
5.-  II)  was  erected 


IV.]      THE  NORTH  DANK  {RIVE  DROITE) 


199 


in  the  Place,  in  its  simpler  form,  by  Louis  Philippe,  in  1836. 
The  two  handsome  large  buildings  on  the  N.  side  are  still 
earlier  in  date,  age  of  Louis  XV  :  one  of  them  is  occupied  by 
the  Minist^re  de  la  Marine — that  nearest  the  Tuileries. 

Proceed  along  the  Rue  de  Rivoli,  driven  through  this  part 
of  Paris  by  Napoleon  I.  He  was  a  Corsican,  and  admired  his 
native  Italian  arcaded  streets,  which  he  transplanted  to  Paris 
in  this  thoroughfare,  and  in  the  Rues  Castiglione,  and  des  Pyra- 
mides,  all  of  which  commemorate  his  victories.  The  form, 
however,  is  ill-adapted  to  the  North,  being  draughty  and  sun- 
less :  and  Frenchmen  have  never  cared  for  the  Rue  de  Rivoli, 
which  is  the  street  of  strangers  and  especially  of  Englishmen. 
The  native  Parisian  has  always  preferred  to  sun  himself  on  the 
Boulevards.  To  your  R  are  the  Gardens  of  the  Tuileries, 
still  much  as  they  were  laid  out  under  Loui;  XIV  by  Le  N6tre, 
in  the  formal  style  which  well  accorded  with  that  artificial 
epoch.  They  contrast  markedly  with  the  newer  portion,  fur- 
ther E.,  on  the  site  of  the  Palace,  laid  out  by  the  present  Republic 
in  something  like  the  English  manner. 

L,  as  you  proceed,  lies  the  Rue  Castiglione,  another  of 
Napoleon's  arcaded  streets,  leading  up  to  the  Place  and 
Colonne  Vendome.  R,  a  little  further  on,  you  come  abreast 
of  the  Louvre,  the  first  Pavilion  being  part  of  the  connecting 
wing  of  the  Tuileries.  L,  the  Rue  des  Pyramides,  again 
Napoleonic  :  and  further  L,  opens  up  the  Place  du  Palais- 
Royal,  with  the  facade  of  the  Palace  showing  behind  it.  This 
part,  marked  Conseil  d'Etat,  is  the  original  building  (much 
restored  and  rebuilt) :  it  was  erected  by  Richelieu  for  his  own 
occupation,  and  bore  at  first  the  name  of  Palais-Cardinal. 
Occupied  after  his  death  by  the  widow  of  Louis  XIII,  it  took 
its  present  name  :  and  was  later  the  residence  of  the  notorious 
Regent,  Philippe  c'Orl^ans,  and  of  his  scheming  grandson, 
Philippe  Egalitd.  The  garden  behind,  with  an  arcade  of  shops, 
now  half  deserted  and  uninteresting,  which  also  bears  the  name 
of  Palais- Royal  (almost  to  the  exclusion  of  the  original  build- 
ing) was  laid  out  and  let  in  this  curious  way  by  the  Regent,  as 
a  commercial  speculation.  As  a  relic  of  the  past,  it  is  worth 
ten  minutes'  visit,  some  time  in  passing. 

Continue  along  the  Rue  de  Rivoli,  eastward,  till  you  reach 


200 


PARIS 


t'v. 


J;  ■!• 


the  Rue  du  Louvre.    So  fai,  you  have  been  passing  through 
the  Paris  of  Louis  XIII,  Louis  XIV,  and  the  Empire  ;  but  now 
you  are  abreast  with  the  wall  of  Philippe  Auguste,  and  enter 
the  Core  of  the  Right  Bank.    Old  as  this  part  is,  however, 
by  origin,  few  of  its  buildings  are  mediaeval ;  almost  everything 
has  been  re-made  in  the  Renaissance  period.    To  your  R  lies 
the  site  of  the  old  chd/eau  of  the  Louvre,  and  opposite  it,  the 
r.icdijEval  Church  of  St.  Germain  I'Auxerrois,  one  of  the  few 
remaining,  which  thus  announces  your  arrival  in  eariy  Pans 
from  the  town  of  Napoleon  and  Francois  I".    (The  Rue  du 
Louvre  itself  is  of  very  recent  origin,  and  leads  to  the  L  to  the 
new  Post  Office.)    Still  going  east,  you  have  on  your  R  the 
tower  of  St.  Jacques,  once  another  fine  mediiEval  church,  no.v 
demolished.    (Near  it,  on  the  l>,  opens  out  the  modern  Boule- 
vard de  Sebastopol,  forming  part  ot  the  great  trunk  line  from 
N.  to  s.,  which  was  a  principal  feature  in  the  Haussmannizing 
plan.     It  is  known,  further  N,,  as  the  Boulevard  de  Strasbourg, 
and  s.  as  the  Boulevard  du  Palais,  and  the  Boulevard  St.  Michel.) 
Keep  on  till  you  come  to  the  H6tel  de  Ville,  the  centre  of 
the  town  on  the  North  Bank. 

The  old  Hotel  de  Ville,  which  this  building  replaces,  was 
erected  in  1533,  under  Francois  I",  by  an  Italian  architect, 
in  emulation  of  the  similar  buildings  in  Italy  and  the   Low 
Countries.    It  was  afterwards  largely  added  to  at  various  times, 
and  played  an  important  part  in  the  history  of  Paris.    This 
first  H6tel  ae  Ville,  however  (a  handsome  Renaissance  building), 
was  unfortunately  burned  down  during  the  internal  struggles 
of  1 87 1.    The  present  edifice  was  erected  shortly  after,  in  much 
the  same  style,  but  on  a  larger  scale ;  a  walk  round  the  exterior 
will  help  to  piece  out  the  visitor's  conception  of  Renaissance 
Paris.    Note  here  once  more  the  pavilions  at  the  angles,  and 
other  features  which  recaU  the  Louvre.    A  visit  to  the  interior 
is  quite  unnecessary  for  any  save  those  hardened  sightseers 
who  desire  to  inspect  the  decorations  and  arrangements  of 
purely  contemporary  buildings.    The  sole  reason  for  coming 
to  the  H6tel  de  Ville  at  all,  indeed,  is  the  desirability  of  recog- 
nising its  historic  site,  and  understanding  that  here,  by  the  hall 
of  the  old  Prev6t  des  Marchands  and  the  seat  of  the  revolu- 
tionary Commune  01  Robespierre's  period,  you  stand  at  the 


[IV. 

passing  through 
mpire ;  but  now 
guste,  and  enter 
part  is,  however, 
Imost  everything 
To  your  R  lies 
opposite  it,  the 
,  one  of  the  few 
il  in  early  Paris 
'.    (The  Rue  du 
s  to  the  L  to  the 
I  on  your  R  the 
;val  church,  no.v 
e  modern  Boule- 
;  trunk  line  from 
Haussmannizing 
rd  de  Strasbourg, 
evard  St.  Michel.) 
le,  the  centre  of 

ng  replaces,  was 
Italian  architect, 
,ly  and  the  Low 

at  various  times, 
f  of  Paris.  This 
lissance  building), 
internal  struggles 
rtly  after,  in  much 
ound  the  exterior 
in  of  Renaissance 
It  the  angles,  and 
isit  to  the  interior 
rdened  sightseers 

arrangements  of 
eason  for  coming 
iirability  of  recog- 
it  here,  by  the  hall 
leat  of  the  revolu- 
you  stand  at  the 


IV.]      THE  NORTH   BANK  (RIVE  DR^i  iE)  201 

heart  of  La  Ville — the  Paris  of  the  merchants.  The  building 
is  occupied  by  the  Prdfet  de  la  Seine— tho  Department  which 
practically  coincides  with  Paris.  The  Place  in  front  of  it,  now 
called  after  the  Hotel  itself,  is  the  old  Place  de  Gr&ve,  the 
famous  place  of  execution  under  the  old  Monarchy,— almost 
equally  conspicuous  in  the  history  of  the  great  Revolution. 

Earlier  still  than  the  building  of  Francois  I",  a  "  Hostel  de 
Ville  "  had  stood  upon  the  same  site,  purchased  for  the  purpose 
by  ^tienne  Marcel,  Pr^vot  des  Marchands,  the  real  founder  of 
the  Paris  municipality — to  whom,  therefore,  a  bronze  equestrian 
statue  has  been  erected  in  tlie  little  square  facing  the  river. 

The  Hotel  de  Ville  forms  a  convenient  centre  from  which  to 
begin  the  exploration  of  the  core  of  the  northern  city.  Walk 
round  to  the  back  (with  a  second  fine  fa<;ade)  and,  between  the 
two  handsome  barracks,  you  s»;^  towering  before  you  the  front 
of  the  church  of 

St.  Gervais. 
This  is  an  old  church,  remodelled  :  and,  unlike  most  of  the 
churches  in  the  older  part  of  Paris,  it  does  not  commemorate  a 
local  saint.  Gervasius  and  Protasius,  to  whom  it  is  dedicated, 
were  two  very  doubtful  martyrs  of  the  persecution  under  Nerc, 
whose  names,  bodies,  and  resting-place  were  miraculously  and 
conveniently  revealed  to  St.  Ambrose  at  Milan  (a.d.  387)  at  the 
exact  moment  when  he  needed  relics  for  the  church  he  had 
built,  and  which  is  now  dedicated  to  him — the  most  interesting 
building  in  that  beautiful  city.  St.  Germain,  bishop  of  Paris, 
brought  back  some  relics  of  these  saints  in  560 :  and  thence- 
forth St.  Gervais  and  St.  Protais  became  great  objects  of  cult, 
like  St.  Stephen,  in  the  Frankish  city.  (They  are  frequent 
subjects  of  French  pictures  in  the  17th  century.)  This  church, 
dedic  ited  to  them,  probably  occupies  the  site  of  one  built  by 
St.  Germain  in  their  honour.  It  was  begun  in  1212,  added  to 
and  completely  altered  in  1420,  and  finally  remodelled  in  front 
in  the  later  Renaissance  or  classic  manner.     Most  of  the  build- 

Ling  as  it  stands  is  late  Gothic  ;  but  you  must  go  to  the  side  to 
see  it :  the  incongruous  classic  facade,  illustrating  the  Doric, 
Ionic,  and  Corinthian  orders,  was  added  by  Debrosse  in  1616. 
Notice  the  coldness  and  bareness  of  this  pseudo-classical  front. 


_6>^ 


202 


PARIS 


teriors.  Almost  the  only  breaks  are  the  figures,  on  either  side, 
of  the  two  martyrs  to  contain  whose  relics  the  church  was 
built  The  sides,  enclosed  in  houses  which  go  close  up  to  the 
wall,  show  the  earlier  architecture.  Most  churches  m  Pans 
were  so  walled  up  during  the  17th  century.  The  tower,  and 
the  aspect  of  the  streets  at  the  side,  are  very  characteristic  of  a 
set  of  old  effects  now  seldom  visible. 

The  Interior  is  chiefly  noticeable  for  its  great  height,  and 
for  its  interesting  Late  Gothic  architecture.    The  patron  saints, 
with  their  palms  of  martyrdom,  stand  on  either  side  of  the 
Hieh  Altar.    The  chapels  at  the  s.  side  should  be  examined 
separately :  in  one  is  a  good  stained  glass  window  by  Pinaigr.er 
(restored)  of  the  Judgment  of  Solomon.    Notice  to  what  samt 
each  is  dedicated.    The  beautiful  flamboyant  Lady  Chapel,  be- 
hind the  choir,  contains  good  modern  frescoes,  illustrating  the 
mystic  titles  of  the  Blessed  Virgin,  whose  history  is  shown  in 
the  stained  glass  of  the  windows,  also  by  Pinaigrier,  but  very 
much  restored.    These  scenes  the  reader  will  now,  I  trust,  be 
able  to  follow  for  himself-the  birth,  education,  marriage,  etc., 
of  the  Virgin,  with  the  events  of  her  life  as  recorded  in  the 
Gospels,  and  her  death  and  assumption.    Good  P.et^  (Christ 
mourned  by  angels)  as  you  return  on  the  N.  side,  with  some 
excellent  paintings-Martyrdom  of  St.  Juliet    etc.     I  do  no 
enlarge,  as  I  hope  the  reader  is  now  able  to  fohow  the  lead  I 
have  given  him  in  previous  churchos. 

From  St.  Gervais,  walk  a  little  way  along  the  N.  side  of  the 
church    enclosed  in  its  curious  envelope  of  houses,  till  you 
come  to  the  Mairie  of  the  IVth  Arrondissement.    Then,  turn  up 
into  the  Rue  de  la  Verrerie,  along  which  continue  till  you 
reach  the  side  of  the  church  of  St.  Merrl,  almost  hidden  from 
view  by  a  wall  of  houses.    The  Made  is  round  the  corner,  m 
the  Rue  St.  Martin.    This  is  one  of  the  few  remaining  medi^va 
churches  in  this  district.    St.  Merri  (Abbot  Mederic  of  Autun) 
was  a  (historical)  saint  of  the  7th  century,  local  and  early.     He 
had  a  hermitage  on  this  spot  (then  in  the  woods),  and  was 
finally  buried  here.     The  shrine  over  his  tomb  became  the 
cemre  of  a  Parisian  cult,  and  several  churches  rose  successively 
above  his  body.    The  present  one  was  not  built  till  1520  ;  it  is 
nevertheless  a  good  late  Gothic   building.     But  notice  the 


[IV. 


IV.]      THE  NORTH  BANK  (RIVE  DROIT E)  203 


s,  on  either  side, 
the  v;hurch  was 

0  close  up  to  the 
lurches  in  Paris 

The  tower,  and 
liaracteristic  of  a 

jreat  height,  and 
'he  patron  saints, 
ither  side  of  the 
aid  be  examined 
iow  by  Pinaigrier 
tice  to  what  saint 
Lady  Chapel,  be- 
:s,  illustrating  the 
istory  is  shown  in 
naigrier,  but  very 
11  now,  I  trust,  be 
an,  marriage,  etc., 
,s  recorded  in  the 
ood  PietJl  (Christ 
\.  side,  with  some 
;t,  etc.     I  do  not 

1  follow  the  lead  I 

the  N.  side  of  the 
if  houses,  till  you 
jnt.    Then,  turn  up 

continue  till  you 
.Imost  hidden  from 
und  the  corner,  in 
;maining  mediaeval 
Mederic  of  Autun) 
cal  and  early.  He 
?  woods),  and  v/as 

tomb  became  the 

;s  rose  successively 

built  till  1520;  it  is 

But  notice  the 


decline  from  the  purity  of  Notre-Dame  and  the  exquisite  light- 
ness of  St.  Louis's  chapel.  Handsome  flamboyant  doorway, 
one  mass  of  sculpture  :  statues  of  12  Apostles,  with  symbols  of 
their  martyrdoms,  all  restored,  after  being  destroyed  in  the 
Revolution.  The  interior  is  interesting,  but  spoilt  in  17th 
century  :  good  stained  glass,  badly  injured.  I  bring  you  here 
mainly  for  the  sake  of  the  reminiscences. 

Continue  straight  on  through  characteristic  old  streets,  to  the 
modern  Boulevard  de  S^bastopol,  which  cuts  right  through  the 
core  of  Paris.  Cross  it  and  take  the  first  turn  to  the  left  (as 
you  walk  northward)  observing  the  marked  contrast  of  the 
modern  thoroughfare  to  the  narrow  streets  we  have  just  been 
traversing.  Go  along  the  Rue  de  la  Reynie,  and  continue  for 
one  block,  till  you  see,  a  little  obliquely  to  your  right,  the 

Square  des  Innocents. 
In  the  centre  rises  the  Fontaine  des  Innocents,  designed  by 
Pierre  Lescot,  with  beautiful  and  appropriate  sculptured  figures 
of  nyraphs,  bearing  urns  of  water,  by  Jean  Goujon.  The 
fountain  originally  stood  with  its  back  to  the  Church  of  the 
Innocents,  demolished  in  1783.  It  has  been  re-erected  here, 
with  a  fourth  side  added  (to  the  s,),  and  has  been  much  altered 
by  the  addition  of  a  base  and  cupola.  Nevertheless,  it  still 
remains  a  beautiful  and  typical  example  of  French  Renaissance 
architecture  and  sculpture.  The  coquettish  reliefs,  indeed,  are 
not  perhaps  more  lovely  than  those  which  adorn  Jean  Goujon's 
portion  of  the  Louvre  ;  but  they  are  nearer  to  the  eye,  and  the 
scale  enables  one  to  judge  of  the  entire  effect  more  truthfully. 
The  other  exquisite  nymphs  which  we  saw  in  the  Renaissance 
Sculpture  at  the  Louvre,  were  originally  part  of  the  same 
fountain.  The  pretty  little  square  in  which  the  fountain  stands 
is  characteristic  of  the  many  democratic  public  gardens  of 
Paris. 

Proceed  diagonally  across  the  square,  and  continue  along  the 
North  side  of  the  Halles  Centrales,  till  the  east  end  of 

St.  Eustaclie 
with  its  characteristic  French  chevet,  comes  in  view  before  you. 
At  the  Pointe  St.  Eustache,  as  you  cross  the  roadway,  look  up 
the  vistas  of  un-Haussmannized  Paris,  again  contrasting  vividly 
with  the  broad  Rue  de  Turbigo,  which  runs  hence  to  the  Place 


204 


PARIS 


[iv. 


de  la  Rdpublique.     Do  not  eulci  at  the  first  door  at  which  you 
arrive -the  one  in  the  cA^vet-^  rather  good  one-but  continue 
along  the  South  side  of  the  church,  observing  as  you  pass  the 
beautiful  transep:,  with  fine  rose  window,  noble  Renaissance 
portal,  and  a  stag's  head  with  the  crucifix  (emblem  of  St. 
Eustace)  surmounting  the  gable.     Go  on  round  the  corner  to 
the  gaunt,  bare,  lumbering,  and  unimposing  late  Renaissance 
or  classical  M'de.     In  this  you  see  the  worst  aspect  of  the 
decadent  Renaissance  architecture  of  Louis  XlV-no  saints, 
no  archways.    The  door  to  the  R  gives  access  to  the  Inter  or. 
In  any  other  town  but  Paris,  so  splendid  a  building,  rivalling 
many  cathedrals,  would  attract  numerous  visitors.     Here,  it  is 
hardly  noticed.    This  is  the  church  of  the  "Dames  de  la 
Halle  "  or  market-women,  who  may  often  be  observed  m  it. 

We  have  already  seen  in  brief  at  Cluny  the  main  elements  of 
the  story  of  St.  EusUce.  the  saint  who  was  converted  by  the 
apparition  of  the  Christ  between  the  horns  of  the  stag  he  was  pur- 
suing.    Though  not  a  local  martyr,  St.  Eustace  early  obtained 
great  consideration  in  Paris.     But  the  first  church  here  was 
one  to  St.  Agnes  :  look  out  for  memorials  of  her  throughout 
the  building.     S..  Eustace  had  practically  supplanted  her  as 
early  as  122', :  l.is  church,  after  many  enlargements,  was  finally 
pulled  down  under  Fransois  I",  and  the   present  splendid 
Renaissance  edifice  erected  in  its  place  in  1532  !  conipleted  in 
1640.    It  is  a  strangely  picturesque  and  unique  buildmg.    St. 
Eustache,    indeed,    displays    Renaissance    architecture    in    a 
transitional  state,  endeavouring  vainly  to  free  itself  froin  the 
traditions  of  the  Gothic.     In  general  plan,  and  m  the  combina- 
tion of  all  its  parts,  it  is  in  essence  a  Gothic  cathedral ;  bu 
its  arches  are  round,  and  its  detail  and  decorative  work  are  all 
conceived  in  the  classical  spirit  of  the  Renaissance.    If  you 
wish  to  see  the  difference  between  such  a  church  and  one  in 
which  developed  Renaissance  methods  have  finally  triumphed, 
you  must  visit  St.  Sulpice. 

Note  three  things  about  St.  Eustache:  (i)  it  replaces  a  church 
to  St.  Agnes,  who  is  still  one  of  its  two  patronesses  ;  (2)  it 
is  the  great  musical  church  of  Paris  ;   (3)  it  is  the  church 

of  the  markets. 

Immediately  on  entering,  stand  in  the  centre  of  the  nave, 


tiv. 

r  at  which  you 
—but  continue 
IS  you  pass  the 
e  Renaissance 
:mbleni  of  St. 

1  the  corner  to 
,e  Renaissance 
:  aspect  of  the 
IV— no  saints, 

0  the  Interior. 
ildintj,  rivalUniJ 
)rs.  Here,  it  is 
"  Dames  de  la 
served  in  it. 
lain  elements  of 
onverted  by  the 
stag  he  was  pur- 
i  early  obtained 
hurch  here  was 

her  throughout 
pplanted  her  as 
lents,  was  finally 
iresent  splendid 

2  ;  completed  in 
le  building.  St. 
chitecture  in  a 
e  itself  from  the 

1  in  the  combina- 
:  cathedral ;  but 
itive  work  are  all 
lissance.  If  you 
lurch  and  one  in 
linally  triumphed, 

replaces  a  church 

.tronesses  ;   (2)  it 

it  is  the  church 

ntre  of  the  nave, 


IV.]      THE  N ORTIZ   BANK  (RIVE  DROIT E)  205 

and  look  up  the  church  towards  the  choir  and  chevet.  The 
enormous  si?e  of  the  building  will  at  once  strike  you.  Notice, 
too,  the  tall,  round  arches  of  the  nave  and  aisles,  the  triforium 
aljove  them  (best  seen  from  the  aisles),  and,  higher  still,  the 
clerestory  rising  above  the  aisle-vaulting.  The  proportions 
are  admirable.  Observe  also  the  roof,  csseni'.ally  Gothic  in 
plan,  though  with  an  incongruous  subs\  ition  of  round  for 
pointed  arches.  But  note  that  all  these  quasi-Gothic  con- 
structive features  are  combined  with  classical  columns  and 
pilasters  of  the  three  great  orders— Doric,  Ionic,  Corinthian 
— superimposed,  and  with  such  Renaissance  detail  as  masks, 
cherubs,  and  other  later  decorative  features. 

Now  walk  up  the  R  aisle.  Everything  in  this  church  is, 
of  course,  comparatively  modem,  but  still  rich  in  symbolism. 
Most  of  the  chapels  have  their  names  inscribed  upon  them 
— an  excellent  feature.  The  first,  containing  Franciscan 
Saints,  has  a  good  modern  stained-glass  window,  representing 
the  Saints  and  Patrons  of  the  Order— St.  Francis,  St.  Louis, 
etc.  Observe  the  frescoes  in  the  various  chapels,  and  note 
their  applicability  to  the  saints  to  whom  they  are  dedicated. 
I  need  not  now  enlarge  upon  this  point.  For  example,  the 
chapel  of  the  Souls  in  Purgatory  has  a  relief  of  Christ  bound 
to  the  pillar— iTij  purgatory— (a  portion  of  it  is  preserved 
here)  and  a  fresco  representing  mourning  souls  below,  with 
triumphant  ones  in  heaven.  Observe  from  this  point  the 
beautiful  Renaissance  detail  of  the  aisles  and  of  the  vaulting 
in  the  ambulatory,  or  passage  behind  the  choir.  Do  not 
overlook  the  chapels  of  St  Agnes  (co-patroness)  and  St.  Cecilia, 
the  inventress  of  the  organ  and  patroness  of  music.  The 
transepts  are  very  sh^rt,  but  are  decorated  with  good  rose- 
windows  and  other  excellent  semi- Gothic  detail.  Walk  round 
the  ambulatory,  noticing  as  you  go  the  various  chapels  with 
their  polychromatic  decoration  and  their  appropriate  frescoes. 
Thus,  that  of  St.  Anne  contains  a  representation  of  the  Saint 
educating  her  daughter  the  Virgin.  Note  also  on  your  L  as 
you  go  the  delicate  work  of  the  choir-screen,  and  the  excellent 
vaulting  and  decoration  of  the  lofty  choir.  The  Lady  Chapel 
behind  the  choir  is  not  wholly  pleasing.  It  contains  a  good 
1 8th   century   statue  of  the   Virgin  and    Child  by  Pigalle. 


m 


306 


PARIS 


[IV. 


Observe  particularly  in  the  North  part  of  the  ambulatory    he 
chapel  of  Ste.  Genevi{;ve,  with  scenes  from  her  le«cnii.      ll'C 
chapel  of  St.  Louis,  next  it.  contains  excellent  n-uclern  frescoes 
from  his  life,  by  Harrias,  and  a  fine  stained-Kla^s  w.ndow  of 
his  educalion,  with  his  mother.  Blanche  of  Cost.l le,  lookmg 
on,  beneath  a  canopy  marked  with  lleurs-de-lir  and  the  three 
castles  of  CastiUe.      One  fresco  represents   hmi  takmt;   the 
Crown  of  Thorns  to  the  Sainte  Chapelle.     Observe  these  httle 
historical  reminiscences  :  they  add  interest.     I'leasmg  rehefs 
in  the  North  transept  of  St.  Cecilia  and  King  Uav.d.  repre- 
senting music,  for  which  this  church  ha^^  "'^^r.  .b^'^"  "":• 
bratcd,  especially  on  St.  Cecilia's  Day  and  Good  I-  r.day.    They 
stand  for  I'salms  and  Hymns-the  Jewish  and  the  Christum 
psalmody.      Notice,  again,  the  figure  of  St.  Agnes  w.th  her 
lamb,  between  the  doorways,  a  tribute  to  .he  earlier  dcd.cat  on 
of  the  building.     Above  it,  good  stained-glass  window  of  the 
Annunciation,  with  traditional  details.      (Uo  not  be  content 
to   notice   merely   the   points  to   which   1    call  attention,  but 
observe  for  yourself  as  you  go  the  other  Hgures,  with  their 
meaning  and    connection.     To  spell  it   all  out  ,s  half   the 
pleasure.)     Above  the  Holy  Water  vessel  in  this  Transept  .s 
a  figure  of   Pope  Alexander  I,  who  first  sanctioned  the  use 
of   Holy   Water,  accompanied  by  angels.      Beneath  it.  the 
baffled  and  disappointed  demons,  fleeing  from  the  consecrated 
water     The  next  chapel  contains  the  relics  of  St.  EusUce 
and  his  children,  martyrs.     It  is,  perhaps,  a  littie  characteristic 
of  modern  feeling  that  the  half-mythical  namesake  saint  o 
the  church  should  thus  be  relegated  to  a  subordinate  chapel 
in  the  edifice  originally  erected  to  his  honour.    The  pictures 
are  imitated  from  those  in  the  Catacombs  at  Rome     Notice, 
in  particular,  the  fresco  of  St.  Eustace  kneeling  before  the 
stag,  which  displays  between  its  horns  t.ie  miraculous  image; 
also,  the  subsequent  scenes  of  his  legend  (for  which,  see  Mrs^ 
Jameson).     Beautiful  view  from  this  point  of  the  choir  and 

ambulatory.  .  .         ,      . 

Do  not  leave  this  interest..ng  building  without  having  ex- 
amined all  its  details.  It  contains  enough  to  °""Py  y^"  <,"; 
several  hours,  and  is  r'ch  in  illustrations  of  modern  Catholic 
sentiment.     Even  the  most  tawdry  bi's  of  its  modern  church 


[IV. 

ambulatory  ilie 
er  le^jcml.  Tlie 
ivuilcrn  frescoes 
^lais  window  of 
Coitille,  lookinR 
if  and  the  llnee 
him  takint;  tlie 
serve  these  little 

ricasing  reliefs 
ng  Uavid,  rcpre- 
Iways  been  ccle- 
3d  Friday.  They 
nd  the  Christian 

Agnes  with  her 
earlier  dedication 
9s  window  of  the 
)  not  be  content 
ill  attention,  but 
gures,  with  their 

out  is  half  the 
1  this  Transept  is 
mctioned  the  use 

Beneath  it,  the 
Ti  the  consecrated 
s  of  St.  Eustace 
ittie  characteristic 
lamesake  saint  of 
ubordinate  chapel 
)ur.  The  pictures 
at  Rome.  Notice, 
leeling  before  the 
miraculous  image ; 
ar  which,  see  Mrs. 
;  of  the  choir  and 

vithout  having  ex- 

to  occupy  you  for 

if  modern  Catholic 

its  modern  church 


jv.]      THE  NORTH   BANK  {RH  E  DROIT E)         207 

furniture  become  of  interest  when  examined  as  parts  of  a 
consistent  whole,  falling  into  their  due  place  in  a  great  system 
of  belief  and  the  government  of  coniluci.  V'oi.:  have  not 
really  understood  a  church  till  you  have  grasped  this  connec- 
tion between  its  various  members.  Ask  yourself  always, 
•'  Why  is  this  here  ? "  and  though  you  may  not  always  be 
able  to  see,  the  longer  you  proceed  to  investigate  in  this  spirit, 
the  more  will  the  meaning  of  the  whole  come  home  to  you. 
For  example,  return  to  the  s.  Transept  and  observe  the 
figure  of  St.  Gregory  :  he  is  the  musical  Father  from  whom 
the  Gregorian  chants  take  their  name,  and  as  such  deserves 
commemoration  in  the  musical  church. 

Quitting  St.  Eustache,  you  can  continue  westward  a  few 
steps,  and  then  turn  down  a  short  street  on  the  left,  which 
leads  you  obliquely  to  a  curious  circular  building,  the  Bourse 
de  Commerce.  Skirt  round  this  till  you  come  to  its  ugly 
fiii^ade,  and  then  continue  your  way  into  the  Rue  du  Louvre. 

This  short  walk  will  have  enabled  you  to  take  your  bearings 
in  the  heart  of  the  old  district  north  of  the  river.    You  can 
prolong  it  a  little,  if  you  choose,  through  the  town  of  Louis 
XIV,  by  walking  northward  along  the  Rue  du  Louvre  as  far 
as  the  new  Post  Office,  and  then  turning  to  the  left  into  the 
little  circular  Place  des  VIctoIres  with  its    clumsy    rearing 
equestrian  statue  of  the  Grand  Monarch.    The  Place  dates  from 
his  reign,  and  was  designed  by  Mansart.     Originally  known  as 
the  Place  Louis  XI V,  it  was  decorated  by  an  earlier  statue  of  the 
king,  destroyed  in  the  Revolution.    Th     '  astoration  replaced 
it  by  the  present  ugly  monument.    A  iew  steps  to  the  N.-v.' 
stands  the  Church  of  Notre- Dame  des  Victoires,  begun  in  1656, 
to  commemorate  the  taking  of  La  Rochelle,  the   Huguenot 
stronghold.     It  is  instructive  to  compare  this  building  of  the 
worst  period  with  the   Medi.xval  and   Renaissance  churches 
you  have  just  been  examining.    The  Rue   Notre-Dame  des 
Victoires  will  lead  you  hence  up  to  the  Bonrse  (adequately 
viewed  from  outside),  whence  the  brand-new  Rue  du  4  Sep- 
tembre  takes  you  straight  back  to  the  Opera  and  the  centre  of 
modern  Paris. 

I  have  only  walked  you  here  through  a  small  part  of  this 
older  town  ;  but  if  you  care  to  explore  the  interesting  district, 


"TT 


208 


I'AUIS 


(IV. 


rich  in  Renaissance  and  even  Mediaeval  buiidiiiKS,  wliich  lies 
to  the  cast  of  the  Hotii  do  Villc,  you  cannot  do  !>cltfr  than 
take  Mr.  AuRusliis  Marc's  /'<ins  as  your  guide—a  v.'iuable 
l)ook,  especially  rich  in  historical  reminiscence*  of  the  Renais- 
sance period,  the  epoch  of  Louis  XIV,  and  the  Crcat 
Rcvohition.  Mr.  Mare  will  lead  you  to  many  forgotten  nooks 
of  old  Paris,  which  the  modest  dimensions  of  the  present 
handbook  arc  insufficient  to  deal  with.  Hut  I  advise  you  only 
to  explore  these  less-known  byways  after  you  have  examined 
all  the  objects  of  first-rate  importance  here  enumerated. 

The  Musie  Carnavalet,  also  in  this  district,  you  had 
better  defer  visiting  till  after  you  have  seen  the  Kcole  des 
Beaux-Arts,  in  the  St.  Germain  Quarter,  south  of  the  river. 
It  will  be  noticed  later. 

B.  THE  OUTER  RING  OF  LOUIS  XIV 
A  second,  and  doubtless  to  the  reader  by  this  time  more 
familiar  walk,  round  the  Great  Boulevards,  will  suffice  to 
j{ive  a  hasty  conception  of  the  Paris  of  Louis  XIV  and  his 
immedi.ate  successors.  Even  if  you  are  already  well  acquain- 
ted with  the  route,  go  over  it  once  more,  if  only  on  the  top 
of  an  omnibus,  at  this  stage  of  your  investigation,  in  order 
to  t.ike  your  bearings  more  fully.  It  must  be  borne  in 
mind  for  the  purposes  of  this  walk  or  ride  that  in  the  earlier 
medi.-Eval  period  the  district  between  the  Boulevards  and  the 
central  core  consisted,  for  the  most  part,  of  gardens  and  fields, 
among  which  were  interspersed  a  few  rural  monasteries  and 
suburban  churches.  These  last  have  long  since,  of  course, 
become  wholly  imbedded  in  modern  Paris,  but  I  will  note 
as  we  pass  a  few  earlier  objects  which  it  may  be  interesting 
for  those  who  have  time  to  diverge  and  visit. 

Start  from  the  Luxor  Obelisk  in  the  Place  de  la  Concorde 
(noting  here  and  elsewhere  the  Roman  reminiscence  of  the 
bronze  ships  of  Paris  on  the  gas-lamps— as  you  see  them  at 
the  Thcrmes),  and  walk  up  the  Rue  Royale,— the  first  portion 
of  the  great  ring  of  streets  which  girdles  the  city  of  Louis 
XIV.  The  Rue  St.  Honord,  to  your  R,  was,  before  the 
construction  of  the  Rue  de  Rivoli  and  the  Champs  Elys^es, 
the  chief  road  which  led  westward  out  of  ancient  Paris.    The 


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[IV. 

litiKSi  which  lies 

do  Setter  than 
iicle~;i  v.-luab!e 
t  of  the  Reiuiis- 
anil  the  (Ircat 
forgotten  nooks 

of  the  present 
[  advise  you  only 

have  examined 
imerated. 
istrict.   you   had 

the  I'.cole  des 
ah  of  the  river. 

JIS  XIV 

this  time  more 
,  will  suffice  to 
is  XIV  and  his 
dy  well  acquain- 
only  on  the  top 
igation,  in  order 
st  be  borne  in 
lat  in  the  earlier 
ulevards  and  the 
irdens  and  fields, 
monasteries  and 
since,  of  course, 

but  I  will  note 
iy  be  interesting 
isit. 

e  de  la  Concorde 
liniscence  of  the 

you  see  them  at 
—the  first  portion 
he  city  of  Louis 

was,  before  the 
Champs  Elys^es, 
cient  Paris.    The 


IV.J       THE  NORTH   nAS'K   {RIVF.    DA'O/ /,)  209 

I'ortc  St.  Honord  stood  on  this  site,  where  it  crossed  the 
barncr  by  t..e  modern  Rue  Royalc.  Beyond  it,  the  street  take, 
the  characieribtic  name  of  the  Rue  du  Faubourg  St.  Honord  • 
and  all  the  other  streets  which  cross  the  girdle  similari; 
change  the.r  na.ue  to  that  o.  the  corrcspondmg  Faubourg  as 
Ley  pass  beyond  u.  These  long  straggling  roads,  lined  with 
houses  on  the  outskirts  (Faubourg  St.  Honord,  Montmartre, 
St.  Uen.s  du  lemplc,  etc.),  have  finally  become  the  chief 
residential  quarters  of  the  city  at  the  present  day. 

I  he    handsome    classical    building   in   front   of   us    is   the 
M.delelne-(Cl,urch  of  St.   Mary  Magdalen)-the  last  stage 
1.1    the    classical    mania    which     substituted     Grieco-Roman 
temples    for    Christian    churches    and    other    edifices.     (See 
previous  stages  in  St.  Paul  and  St.  Louis,  the  Sorbonne  the 
invahdes,  the  Fanthdon,  etc.)    Begun  under  Louis  XV,  it  was 
not  completed  till  the  Restoration.     In  style  it  follows  the  late 
Koman   variation  on  the  Corinthian-Greek    model.    Notice 
however,  as  you  approach,  that  even    this    Grecian    buildin.' 
bears  on  its  purely  classical  pediment  the  stereotyped  Parisian 
subject  of  the  Last  Judgment,  with  the  Angel  of  the   Last 
Irump,    and    the     good    and    wicked   to   R    and   L    of    the 
Redeemer.    Only,  in   this   case,   St.   Mary    Magdalen,   und.r 
whose   invocation,  as  the    inscription   states,    the  church    is 
clcdicated.  kneels  by  the  l  side    of  Christ,  imploring   mercy 
for  the  wicked.    Compare  this  last  term  in  the  treatment  of 
us   old    conventional    portal-relief  with   its   naif  beginnings 
at  Notre-Dame  and  St.  Denis.     It  is  also  worth  while  to  enter 
and  inspect  the  chapels,  the  paintings  and  sculpture  in  which 
will  reveal  their  dedications.     (See  also  Baedeker.) 

rhe  Rue  Royale  forms  the  first  part  of  the  girdle  of  Louis 
AlV.  brovr.  he  Madeleine  onward,  we  enter  that  wider  part 
"f  this  girdle  which  still  distinctively  bears  the  name  of  the 

n?'.?'?''*!:  '^°  ""^  "-'  ^^'■°"  Haussmann's  quite  modem 
lid.  Malesherbes  opens  up  a  vista  of  the  recent  and  un- 
satisfactory  Church  of  St.  Augustin-a  great  ornate  pseudo- 
Romanesque  building,  unhappily  accommodated  to  the  space 
at  the  architect's  disposal.  Proceeding  along  the  Bd.  de  la 
Madeleine,  and  then  the  Bd.  des  Capucines,  we  arrive  in  a 
few  minutes  at  the  Place  de  I'Opdra,  undoubtedly  the  central 


-y*^' 


210 


PARIS 


[IV. 


nodal   point  of  modern   Paris.    To  our  L  sttirds  the   great 
Opera  House,  erected  at  vast  expense  in  the  gaudy  meretri- 
cious style  of  the  Second  Empire,  and  decorated  with  good, 
but    too     voluptuous    modern    sculpture.     Two   new    streets 
branch    R  and   I.  of  it.     Walk    round    them,  and  so  take 
the  measure   of  the  building.    To  our  R  the  Avenue  de  I' 
Op6ra  has  been  run   diagonally  across  the  older  streets  of 
Louis  XIV's  town,  towards  the  Palais  Royal  and  the  Thedtre 
Franqais.     This   is   now   one  of    the   finest   thoroughfares   of 
the  cxistinsj  town.     Nevertheless,  the  old  Boulevard,  above  all 
in  this  par^  of  its  circuit,  remains  the  centre  of  Parisian  life, 
thought,  and  movement.     Especially  is  it  the  region  of  cafes 
and  theatres.     Here  also  the  older  Rue  de  la  Palx,   one  of 
the  eariiest  fine  open   thoroughfares  in    Paris,  leads  to  the 
irregular  octagonal  Place  VendSme,   laid  out  under   Louis 
XIV,  and  said   to  owe  its  canted  corners  to  the  king's  own 
personal  initiative.    [This  Place  is  a  good  example  of  the  best 
domestic  architecture  of  the  Eighteenth  Century.    Its  centre  is 
occupied  by  the  great  bronze  column  (Colonne  Vend6me) 
oricrinally  erected  by  Napoleon  to  commemorate  his  victories. 
It  was  pulled  down  by  the  Commune,  but  (the  fragments  having 
been  preserved)  was  re-erected  after  the  triumph  of  the  National 
party.    Round  it  in  a  long   spiral   run   a  series   of  reliefs, 
su<raested  by  those  on  Trajan's  Column  at  Rome :  but  while 
thrRoman  pillar  was  surrounded  by  a   Forum  of   several 
stories,  with   open  porticoes  from  which  the  sculpture  could 
be  inspected,  the  sculpture  on   Napoleon's  is  quite  invisible, 
except  just  at  the  base,  owing  to  the  lack  of   any   similar 
elevated  platform  from  which  to  view  it.]    The  other  great 
street  diverging    from  the   Place  de    I'Opera  to  the    R,  the 
Rue  du  4  Sepiembre,  leads  to  the  Bourse  (uninteresting),  and 
is  part  of  the  modern  arterial  system. 

Continuing  along  the  line  of  Louis  XIV's  Boulevards,  we 
reach  next  the  Bd.  des  Iinliens,  and  then  turn  obtusely  round 
into  the  Bd.  Montmartre.  To  our  L  lies  the  Faubourg  of  that 
name,  long  since  swallowed  up  by  the  engulfing  city.  At  the 
Rue  St.  Denis  (the  great  north  road  of  Paris),  we  arrive  at  one  of 
the  debased  classical  triumphal  arches  (Porte  St.  Denis)  wiiich 
LcuLs  X!V   erected  in  place  of  the  ancient  castellated  gates. 


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[IV. 

itards  the  great 
e  gaudy  meretri- 
■ated  with  good, 
wo  new  streets 
m,  and  so  take 
e  Avenue  de  I' 

older  streets  of 

and  the  Thedtre 
thoroughfares  of 
ilevard,  above  all 

of  Parisian  life, 
!  region  of  cafes 
la  Palx,  one  of 
ris,  leads  to  the 
out  under  Louis 
)  the  king's  own 
ample  of  the  best 
ury.  Its  centre  is 
ilonne  Vendome) 
rate  his  victories, 
fragments  having 
}h  of  the  National 
series  of  reliefs, 
Rome :  but  while 
orum  of  several 
e  sculpture  could 
is  quite  invisible, 
;  of   any   similar 

The  other  great 
•a  to  the  R,  the 
ninteresting),  and 

s  Boulevards,  we 
•n  obtusely  round 

Faubourg  of  that 
fing  city.  At  the 
we  urnve  at  one  of 
e  St.  Denis)  wiijch 

castellated  gates. 


IV.]         TflE  NORTH   DANK  {RIVE   DROITE)        211 

It  is  (more  or  less)  decorated  wiih  contemporary  reliefs  rep-e- 
sentmg  his  victories  ;  these,  and  the  inscriptions,  are  worth 
examining.     Beyond  the  gate,  the  road   io  ^x.   Denis,  much 
♦raversed  in  earlier   times  by   pil-rims,  takes  the  significant 
name  of  Rue  du   Faubourg  St.   Denis.    A  little  further  on, 
the  modern  trunk  line  of  the  (Haussmannesquc)  IJd.  de  Sdbas- 
topol,  hewn  straight  through  the  heart  of  the  earlier  town 
intersects  the  old  fortifications,  leading  r  to  the  CM,  and  L 
to  the  Gare  de  I'Est,  in  which  direction  it  is  known  as  the  Bd 
de  Strasbourg.    The  next  corner,  the  Rue  St   Martin,  which 
simihirly  changes  its  name  to  that  of  its  Fauboury  as  it  crosses 
the  imit  of  the  earlier  town,  is  marked  by  a  second  of  Louis 
XIVs  arches,  the  Porte  St.  Martin  (not  gui^e  so  ugly),  whose 
sculpture  is  again  worthy  of  notice  en  historical  grounds,  if  not 
on  artistic.  [A  little  way  down  the  Rue  St.  Martin  to  the  R  lies  the 
Conservatoire  des  Artset  Metiers  (uninteresting  internally) 
which  occupies  the  site  of  the  former  Clunlac  Priory  of  St 
Martin-des-Champs,  after  which  the  street  is  still  called.    This 
was  one  of  the  principal  old  monasteries  in  the  belt  outside  the 
girdling  walls  of  Philippe  Auguste,  though  included  within 
those  of  Etienne  Marcel.     It  was  founded  as  early  as  the  iith 
century     The  Conservatoire  itself,  as  an  industrial  exhibition. 
IS  hardly  worth  a  visit  (except  for  technical  purposes),  but  it 
ought  to  be  inspected  for  the  sake  of  the  old  church  of  the 
monastery  which  it  contains  (enter  it  to  view  interior ;  open  on 
Sundays,  Tuesdays,  and  Thursdays  only)  as  well  as  for  the  fine 
Refectoo'  of  the  13th  century,  a  beautiful  Gothic  hall,  probably 
erected  by  Pierre  dc  Montereau,  the  architect  of  the  Sainte 
Chapelle,  who  also  built  the  other  Refectory,  now  destroyed 
at  St.  Germain-des-Prds  in  the  southern  Faubourg.    A  little 
further  on  m  the  same  street  is  the  interesting  Gothic  church  of 
St.    Nlcolas-des-Champs,   with  rather  picturesque  Renais- 
sance additions.      It  stood,  when   first  built,  far  out  in  the 
country.    The  fine  west  porch  is  of  the  isth  century.    These 
buiidings  are  chiefly  worth  notice  as  enabling  the  visitor  men- 
ially to  restore  the  outer  ring  of  monasteries  and  churches 
during  the  early  media;val  period,  afterwards  englobed  in  the 
town  of  Louis  XIV,  and  now  in  many  cases  adapted  to  alien 
modern  uses.] 


■^•n 


312 


PARIS 


[IV. 


Return  to  the  main  line  of  the  Boulevards,  which  here  become 
distinctly  shabbier  and  pass  through  a  poo-er  district.  This 
part  of  Paris  is  destitute  of  immediate  interest,  but  should  be 
traversed  in  order  to  give  the  visitor  a  just  idea  of  the  extent 
and  relations  of  the  eighteenth  century  city.  We  arrive  before 
long  at  the  Place  dc  la  Republique,  formerly  Place  du  Chflteau- 
d'  Eau,  now  adorned  with  a  new  bronze  statue  of  the  Republic. 
From  this  Place  several  more  new  Boulevards  in  various  direc- 
tions pierce  through  the  poorer  and  densely-populated  regions 
of  eastern  and  north-eastern  Paris.  Along  the  main  line,  the 
Bds.  du  Temple,  des  Filles  du  Calvaire,  and  Beaumarchais  lead 
hence  through  increasingly  poorer-looking  districts  to  the  Place 
de  la  Bastille,  where  stood  the  famous  strong  castle  of  that 
name  (Bastille  St.  Antoine),  destroyed  in  the  Revolution.  Its 
site  is  now  occupied  by  the  Colonne  de  Juillet,  erected  to 
commemorate  the  Revolution  of  1830.  Hence  the  Rue  St. 
Antoine  leads  R  in  one  line  into  the  Rue  de  Rivoli  near  the 
Hotel  de  Ville.  Beyond  the  line  of  the  Boulevards,  L,  it  takes 
the  name  of  Rue  du  Faubourg  St.  Antoine.  This  was  the 
region  of  the  poorer  and  fiery  revolutionists  of  17S9-93. 

The  district  within  the  Boulevards  in  this  direction  was  in 
the  Valois  period  the  most  fashionable  part  of  Paris.  It  con- 
tained the  old  royal  palace  of  the  Hotel  St.  Paul,  together  with 
numerous  other  hStels  of  the  French  nobility.  From  the  Place 
de  la  Bastille,  also,  new  Boulevards  diverge  in  several  directions. 
You  had  better  return  to  the  centre  of  the  town  by  the  Rue  St. 
Antoine,  where  the  third  turning  to  the  R  will  lead  you  direct 
into  the  Place  des  Vosges,  a  curious  belated  relic  of  the  Paris 
of  Henri  IV.  Its  interesting  architecture  and  quiet  stranded 
air  will  well  repay  you  for  the  slight  detour,  and  will  suggest  to 
you  the  possibility  of  many  similar  agreeable  walks  in  the  same 
district.  Mr.  Hare  will  prove  a  most  efficient  guide  to  this 
quaint  district,  for  those  who  have  time  to  explore  it  thoroughly. 
Remember  always  that  the  least  important  part  of  Paris, 
historically  speaking,  is  the  western  region  which  alone  is 
known  to  most  passing  strangers. 


1 


.«i«. 


■"♦•n 


[IV. 


ch  here  become 
district.     This 

but  should  be 
a  of  the  extent 
/e  arrive  before 
e  du  Chftteau- 
if  the  Republic. 
n  various  direc- 
pulated  regions 
!  main  line,  the 
umarchais  lead 
:ts  to  the  Place 
:  castle  of  that 
devolution.  Its 
let,  erected  to 
e  the  Rue  St. 
Rivoli  near  the 
irds,  L,  it  takes 

This  was  the 

789-93- 

lirection  was  in 
Paris.  It  con- 
1,  together  with 
From  the  Place 
ireral  directions. 

by  the  Rue  .St. 
lead  you  direct 
;lic  of  the  Paris 

quiet  stranded 

will  suggest  to 
Iks  in  the  same 
t  guide  to  this 
e  it  thoroughly. 

part  of  Paris, 
N'hich   alone  is 


V 
THE  FAUBOURG  ST.  GERMAIN 

(Luxembourg,  etc.) 

T'TPHE  town  on  the  North  Side,  we  saw,  was  early  sur- 
L  X     rounded  by  a  suburban  belt  of  gardens  and  monas- 
teries.    A  similar  zone  encircled  the  old  University  on  the 
South   Bank.     The  wall  of   Philippe   Auguste,  you  will  re- 
member, bent  abruptly  southward   in   order  to    °nclose   the 
abbey  of   Ste.   Genevieve  ;    but  an  almost  more    important 
monastic  establishment  was  left  outside  it  a  little  to  the  west. 
This  was  the  gigantic  abbey  of  St.  Gerinai;::-des-Pres,  whose 
very  name  betokens  its  original  situation.      This  rich    and 
powerful  community,  whose  building  covered    an  enormous 
area  of  ground  on  the  Left  Bank,  and  grew  at  last  into  a  town 
by  itself,  was  originally  founded  by  Childebert  I  as  a  thank- 
ofiering  for  his  victory  over  the  Visigoths  in  Spain  in  543. 
Childebert,  it  may  be  remarked,  was  one  of  the  most  religious- 
minded  among  the  Frankish  monarchs,— which  is  why  we  have 
more  than  once  met  with  his  effigy  in  Gothic  sculpture.     He 
was  also  one  of  those  few  Merovingian  kings  who  especially 
made  his  residence  in  Paris.     On  the  portal  of  the  other  St. 
Germain  (I'Auxerrois),  which  has  numerous  points  in  common 
with  this  one,  we  saw  him  represented  with  his  wife  Ultrogothe 
and  the  earlier  St.  Germain,  a  naive  way  of  expressing  the  fact 
that  the  King  and  Queen  first  gave  that  church  to  the  sainted 
bishop.    At  the  Louvre,  too,  we  saw  his  statue  from  this  very 
monastery.      Among    the    sacred    objects   which    Childebert 
brought  back  from  Spain  was  the  tunic  of  St.  Vincent,  the 
patron  saint  of  prisoners.     When  he  was  besieging  Saragossa, 
he  saw  the  inhabitants  carry  this  tunic  in  unarmed  procession 
round  the  walls  ;  which  so  convinced  him  of  its  value  that  he 

11* 


214 


PARIS 


[v. 


raised  the  siege,  on  condition  that  he  might  take  the  holy 
object  hone  with  him.  He  also  brought  a  large  rich  gold 
cross,  ornamented  with  precious  stones,  from  Toledo, — a  piece 
of  jeweller's  work  which  might  probably  be  compared  vith  the 
crowns  of  the  Gothic  kings  preserved  at  Cluny.  St.  Qerntaln, 
Jiishop  of  Paris  (»vho  must  not  be  confounded  with  his  earlier 
namesake  of  Auxerre),  recommended  to  the  king  the  foundation 
of  a  ..ew  church  and  abbey,  in  order  fitly  to  receive  these  holy 
relics.  A  church  was  therefore  built  in  the  garden  belt  outside 
the  wall,  and  was  originally  dedicated  (as  was  natural)  to  the 
Holy  Cross  and  St.  Vincent.  The  latter  thus  became  one  of 
the  local  saints  of  Paris,  through  its  possession  of  his  tunic  ; 
and  his  effigy  may  often  be  seen,  with  or  without  that  of  his 
brother  deacon  St.  Stephen,  on  many  of  the  older  buildings  ot 
the  city.  We  noticed  him  in  particular  on  the  portal  of  St. 
Germain  I'Auxerrois,  and  on  the  frescoes  within,  though  it  was 
premature  then  to  explain  his  presence.  Note  here  that 
possession  of  the  body  of  a  Saint  (St.  Denis,  Ste.  Genevieve) 
or  of  some  important  relic  (St.  Vincent's  tunic,  St.  Martin's 
cloak  at  St.  Severin)  almost  invariably  gives  rise  to  local 
churches,  and  decides  the  cult  of  local  patrons. 

Later  on,  St.  Qermain  of  Paris  having  died,  was  buried  in 
turn  in  Childebert's  church  of  St.  Vincent.  His  body  being 
preserved  here  (as  it  still  is),  and  working  many  miraculous 
cures,  it  came  about  in  time  that  St.  Vincent  and  the  Holy 
Cross  were  almost  forgotten,  and  the  local  bishop  whose  bones 
were  revered  on  the  spot  grew  to  be  the  acknowledged  patron 
of  the  mighty  abbey  which  surrounded  his  shrine.  Such  of 
the  early  Merovingian  kings  as  were  buried  in  Paris  had  their 
tombs  in  this  first  church  :  their  stone  coffins  may  still  be  seen 
nt  the  Hotel  Carnavalet.  The  abbey,  which  belonged  to  monks 
of  the  Benedictine  order,  grew  to  be  one  of  the  most  famous  in 
Europe  :  its  name  is  still  bestowed  upon  the  whole  of  the 
Faubourg  (long  since  imbedded  in  the  modern  town)  of  which 
it  forms  the  centre.  It  was  to  the  South  Bank  what  St.  Denis 
was  to  Northern  Paris. 

The  existing  church,  of  course  (save  for  a  few  small  frag- 
ments), is  of  far  later  date  than  the  age  of  Childebert.  Most  of 
the  Paris  churches  and  monasteries  suffered  severely  at  the 


L 


[V. 

take  the  holy 
irge  rich  gold 
ledo,— a  piece 
pared  vith  the 
St.  Qerntaln, 
irith  his  earlier 
the  foundation 
ive  these  holy 
en  belt  outside 
natural)  to  the 
lecame  one  of 

of  his  tunic  ; 
ut  that  of  his 
:r  buildings  ot 
:  portal  of  St. 
,  though  it  was 
lote  here  that 
Jte.  Genevieve) 
c,  St.  Martin's 

rise   to  local 

was  buried  in 
iis  body  being 
iny  miraculous 
and  the  Holy 
p  whose  bones 
'ledged  patron 
rine.  Such  of 
Paris  had  their 
ay  still  be  seen 
inged  to  monks 
nost  famous  in 

whole  of  the 
own)  of  which 
vhat  St.  Denis 

;w  small  frag- 
bert.  Most  of 
cvercly  at  llie 


v.l 


^ 


fllh    FAUBOURG  ST.    GERMAIN 


2i:> 


hands  of  the  Normans  :  even  those  which  were  not  then  burnt 
down  or  sacked,  were  demolished  and  rebuilt  in  a  more  sump- 
tuous style  by  the  somewhat  irreverent  piety  of  later  ages. 
This,  the  present  church  of  St.  Germain-des-Prds,  belongs  for 
the  most  part  to  the  nth  century.  It  is  therefore  older  than 
Notre-Dcme  or  the  Sainte  Chapelle,  and  even  as  a  whole  than 
the  greater  part  of  St.  Denis.  It  exhibits  throughout  that 
earlier  Romanesque  style  which  formed  the  transitional  term 
between  classical  architecture  and  the  pointed  arches  of  the 
Gothic  period.  (What  we  call  "Norman"  in  England  is  a 
local  modification  of  Romanesque.)  Portions  of  the  building, 
however,  show  Gothic  tendency  ;  and  the  upper  part  is  pure 
Pointed.  Most  of  the  Abbey  has  long  since  been  swept  away  ; 
a  small  part  of  the  building  still  remains  in  the  rear  of  the 
existing  church.  St.  Germain  should  be  visited  if  only  on 
account  of  the  fact  that  it  is  the  earliest  large  ecclesiastical 
building  now  standing  in  or  near  Paris.  Flandrin's  noble 
modern  frescoes  have  given  it  of  comparatively  recent  years 
another  form  of  attractiveness. 

During  the  Renaissance  period,  while  many  of  the  nobility 
fixed  their  seats  in  the  eastern  and  north-eastern  part  of  Paris- 
within-the-Boulevards  on  the  Right  Bank,  not  a  few  erected 
houses  for  themselves  in  the  open  spaces  of  thv-;  Faubourg  St. 
Qermain.  The  most  magnificent  of  these  later  buildings  is 
the  Palais  du  Luxembourg,  erected  for  Marie  de  Mddicis, 
after  the  death  of  Henri  IV,  by  Jacques  Debrosse,  one  of  the 
best  French  architects  of  the  generation  which  succeeded  that 
of  Jean  Goujon  and  Philibert  Delorme.  It  was  built  somewhat 
after  the  style  of  the  Pitti  Palace  at  Florence,  where  Marie 
was  bom,  and  it  exhibits  the  second  stage  of  French  Renais- 
sance architecture,  when  it  was  beginning  to  degenerate  from 
the  purity,  beauty,  and  originality  of  its  first  outburst,  towards 
the  insipid  classicism  of  Loui-;  XIII  and  Louis  XIV.  It  was 
for  this  building  that  Rubens  executed  his  great  series  of 
pictures  from  the  life  of  Marie,  now  in  the  Louvre;  while 
Lesueur  painted  his  St.  Bruno  legends  for  a  Carthusian 
monastery  within  the  grounds.  The  gardens  which  surround  it 
are  interesting  in  their  way  as  being  the  only  specimen  now 
remaining  in  Paris  of  Renaissance  methods  of  laying   out ; 


il 


itb 


PARIS 


Lv. 


most  of  the  other  palaces  have  gardens  designed  bv  Le  Notre 
in  the  formal  style  of  Louis  XIV.  The  Palace  is  now  occupied 
by  the  Senate :  it  is  practically  difficult  of  access,  and  the 
interior  contains  so  little  of  interest  that  it  may  well  be  omitted 
save  by  those  who  can  spend  much  time  in  being  ushered  round 
almost  empty  rooms  by  perfunctory  officials.  But  the  exterior, 
the  gardens,  and  the  Medici  fountain  should  be  visited  by  all 
those  who  wish  to  form  a  consistent  idea  of  Renaissance  Paris, 

In  the  same  excursion  may  be  easily  combined  a  visit  to  St. 
5ulpice,  a  church  which  occupies  the  site  of  an  old  foundation, 
but  which  was  entirely  rtbuilt  from  the  ground  in  the  age  of 
Louis  XIV,  and  which  is  mainly  interesting  as  the  best  example 
of  the  cold,  lifeless,  and  grandiose  taste  of  that  pompous  period. 

The  Faubourg  St.  aermain  and  the  quarter  about  it,  as 
a  whole,  are  still  the  region  of  the  old  noble  families.  The 
western  end  of  this  Faubourg,  especially  about  the  Quai  d'Orsay, 
is  given  over  to  embassies  and  political  machinery,  particularly 
that  connected  with  foreign  affairs.  The  South  Bank  is  also 
the  district  of  the  Legislature,  in  both  its  branches.  The 
Quartier  Latin,  however,  has  largely  overflowed  of  recent  years 
into  the  Luxembourg  district  and  that  immediately  behind  it, 
which  are  now  to  a  great  extent  occupied  by  the  students, 
artists,  and  other  Bohemian  classes.] 

Cross  the  river,  if  possible,  by  the  Pont  de  la  Concorde. 
The  classical  building  which  fronts  you  proclaims  itself  legibly 
on  its  very  face  as  the  Chambre  des  Ddput^s.  But  it  has 
borne  in  its  time  many  other  names.  This/a(aae  towards  the 
river  is  of  the  age  of  the  First  Empire  ;  the  main  edifice, 
however,  is  much  older,  being  the  Palais  Bourbon,  built  in 
1722  for  the  Duchesse  de  Bourbon.  In  1790,  it  was  confiscated, 
and  has  ever  since  been  the  seat  of  one  or  other  legislative 
body,  according  to  the  Government  of  the  moment. 

Vou  can  go  round  to  the  back,  as  you  pass,  to  inspect  the 
original /a  fade,  in  the  style  of  Louis  XIV,  facing  the  little  Place 
du  Palais  Bourbon.  The  interior  is  uninteresting,  but  has  a 
few  good  pictures,  which  should  only  be  visited  by  those  whose 
time  is  unlimited. 

The  river  front  is  on  the  Quai  d'Orsay,  the  centre  of  modern 


Lv. 

1  by  Le  Notre 
now  occupied 
cess,  and  the 
ell  be  omitted 
ushered  round 
It  the  exterior, 
visited  by  all 
lissance  Paris, 

1  a  visit  to  St. 
>ld  foundation, 
in  the  age  of 

2  best  example 
mpous  period, 
r  about  it,  as 
amilies.  The 
Quai  d'Orsay, 
y,  particularly 
Bank  is  also 
anches.  The 
f  recent  years 
tely  behind  it, 
the  students, 


la  Concorde. 
3  itself  legibly 
But  it  has 
e  towards  the 
main  edifice, 
'bon,  built  in 
is  confiscated, 
ler  legislative 

o  inspect  the 

le  little  Place 

ng,  but  has  a 

those  whose 

re  of  modern 


V.J 


THE   FAUBOURG   ST.    GERMAIN 


217 


political  and  diplomatic  Paris.     The  building  to  the  R  of  the 
Chamber  is  the  official  residence  of  its  President ;   still  further 
R,  the  Minist^re  des  Affaires  ittrangeres.    The  broad  thorough- 
fare  which  opens  obliquely  south-eastward,  L  of  the  Chamber, 
IS  the  Boulevard  St.  Germain,  which  we  have  crossed  brfore 
m  other  parts  of  its  semi-circle.      It  was  Haussmannized  in 
a  wide  curve  through  the  quiet  streets  of  the  Faubourg,  and 
the  purlieus  of  the  Quartier   Latin,  with  ruthless  regularity. 
Many  of  the  tranquil  aristocratic  roads  characteristic  of  the 
region   he  R    and  L  of  it ;    their   type  should    be    casually 
noted  as  you  pass  them.     Down  the  Rue  de  Lille  stands  ths 
German  Embassy  ;    on  the  Boulevard  itself,  R,  the  Ministire 
de  la  Guerre,  and  further  on,  L,  the  Travaux  Publics.    Other 
ministries  and  embassies    cluster    thickly  behind,  about  Xhe 
diplomatic  Rue  de  Crenelle  and  its  neighbours.     To  the  r, 
again,  the  Boulevard  Raspail,  another  very  modern  street,  not 
yet  quite  complete,  runs  southward  through  the  heart  of  the 
Luxembourg  district.    Continue  straight  along  the  Boulevard  St 
Germain,  till  you  reach  the  Place  of  the  same  name,  with  the 
church  of  5t.  Germaln-des-Pres  full  in  front  of  you.    (It  may 
also  be  reached  directly  by  the  Rue  Bonaparte ;  but  this  other  is 
a  more  characteristic  and  instructive  approach  to  the  Abbey 
Church  which  forms  the  centre  of  the  quarter.)     Observe  how 
the  new  Boulevard  skirts  its  side,  giving  a  clever  efifect  of  its 
having  always  been  there  ;  the  front  of  the  church  is  round  the 
comer  in  the  Rue  Bonaparte. 

The  exterior,  with  the  houses  still  built  against  it  in  places, 
though  picturesque,  has  little  minute  architectural  detail.  The 
massive  tower  has  been  so  much  renewed  as  to  be  practically 
modem  ;  but  the  Romanesque  arches  near  the  top  give  it  dis- 
tinction and  beauty.  The  mean  and  unworthy  porch  is  of  the 
17th  cent.;  the  inner  portal,  however  (though  its  arch  has  been 
Gothicised),  belongs  to  the  Romanesque  church  and  is  not 
without  interest.  Observe  the  character  of  the  pilasters  and 
capitals,  with  grotesque  animals.  Statues  of  St.  Germain,  of 
Childebert  and  Ultrogothe  (as  at  the  other  St.  Germain)  and  o» 
Clovis,  etc.,  which  once  flanked  the  door,  were  destroyed  at  the 
Revolution.  In  the  tympanum  are  the  unusual  subjects  of  the 
Eternal  Father,  blessing,  and  beneath  Him  a  Romanesque  relief 


2lS 


IWKIS 


r,v. 


of  the  Last  Supper  {not,  as  commonly,  the  Last  Judgment). 

The  interior  still  preserves  in  most  purt  its  Komanesque 
arches  and  architecture  ;  but  the  lower  part  of  the  nave  is  the 
oldest  portion  (early  12th  cent.) ;  the  choir  is  about  a  century 
later.  Most  of  the  pillars  have  had  their  capitals  so  modernized 
and  gilt  as  to  he  of  relatively  little  interest,  while  the  decora- 
tions, though  good  and  effective,  are  in  many  cases  of  such  a 
sort  as  effectually  to  conceal  the  real  antiquity  of  the  building. 
The  church  was  used  during  the  Great  Revolution  as  a  saltpetre 
factory,  and  was  restored  and  re-decorated  in  polychrome  a 
little  too  freely  under  the  Second  Empire.  A  few  capitals, 
however,  notably  those  of  the  Baptistery  to  the  L  as  you  enter 
retain  their  antique  carving  and  are  worthy  of  notice  ;  while 
even  the  modern  gilt  figures  on  those  of  the  aisle  are  Roman- 
esque in  character  and  quaint  in  conception.  (You  can 
examine  some  of  the  old  ones  which  they  replace  in  the  garden 
at  Cluny.) 

Walk  round  the  church.  The  architecture  of  the  ambulatory 
and  clioiri  though  later,  is  in  a  much  mori>  Batisiattory  condi- 
tion than  that  of  the  main  body.  The  arches  of  the  first  story 
are  mostly  round,  but  pointed  in  the  apse  ;  those  of  the  clere- 
story are  entirely  Gothic.  The  detail  below  is  good  Roman- 
esque ;  study  it.  Observe  the  handsome  triforium,  between  the 
two  stories  ;  and  more  especially  the  interesting  capitals  of  the 
columns— relics  of  the  original  church  of  Childebert,  built  into 
the  later  fabric.  The  choir,  on  the  whole,  is  a  fine  specimen  of 
late  1 2th  cent.  work.  The  Lady  Chapel,  behind,  is  a  modern 
addition. 

After  having  thus  walked  round  the  aisles  and  the  back  of 
the  choir  to  observe  the  architecture,  return  once  more  to  the 
doorway  by  which  you  entered  and  proceed  up  tlie  nave,  in 
order  to  notice  the  admirable  modem  frescoes  by  Plandrin 
(Second  Empire).  These  are  disposed  in  pairs,  each  contain- 
ing subjects,  supposed  to  be  parallel,  from  the  Old  and  New 
Testaments.  Note  in  these  the  constant  survival  of  early 
traditions,  revivified  by  Flandrin  in  accordance  with  the  art  of 
his  own  period.    The  subjects  are  as  follows  : — 

Begin  on  the  L.  (i)  The  Annunciation  (treated  somewhat 
in  the  traditional  manner,  the  relative  positions  of  the  Madonna 


1 


[V. 

iSt  Judgment). 
;  Komanesque 
he  nave  is  the 
bout  a  century 
so  modernized 
le  the  decora- 
ises  of  such  a 
r  the  building. 
1  as  a  saltpetre 
polychrome  a 
L  few  capitals, 
L  as  you  enter 
notice  ;  while 
le  are  Roman- 
1.  (You  can 
!  in  the  garden 

e  ambulatory 

iiactory  condi- 
the  first  story 
>e  of  the  clere- 
good  Roman- 
m,  between  the 
capitals  of  the 
bert,  built  into 
le  specimen  of 
I,  is  a  modern 

id  the  back  of 
;e  more  to  the 
I  the  nave,  in 
s  by  Flandrin 

,  each  contain- 
Old  and  New 
vival  of  early 
with  the  art  of 

ited  somewhat 
f  the  Madonna 


v.] 


THE  FAUBOURG   ST.    GEtiMAIN 


219 


and  the  Angel  Gabriel  being  preserved);  typified  by  the 
Almighty  appearing  to  Moses  in  the  Burning  Bush,  as  His  first 
Annunciation.  (2)  The  Nativity,  as  the  pledge  of  redemption  ; 
typified  or  rendered  necessary  by  the  Fall.  (The  New  Testa- 
ment scenes  are  of  course  the  usual  series  j  those  from  the  Old 
Testament  foreshadow  them,  for  which  reason  they  are  placed 
in  the  opposite  from  the  chronological  order.)  (3)  The  Adoration 
of  the  Magi  (reminiscences  of  the  conventional,  entirely  altered 
by  Oriental  costumes  and  attitudes  of  submission);  typified  by 
Balaam  blessing  Israel— a  famous  picture.  (4)  The  Baptism  in 
Jordan  (positions  conventional,  with  the  three  angels  to  the  1. 
as  always) ;  typified  by  the  Passage  of  the  Red  Sea.  (5)  The 
Institution  of  the  Eucharist,  very  original  in  treatment;  typified 
by  Melchisedec  bringing  forth  bread  and  wine  to  Abraham. 
Now  return  by  the  R  side,  beginning  at  the  transept :— (6) 
The  Betrayal  of  Christ  by  Judas ;  typified  by  the  Sale  of 
Joseph.  (7)  The  Crucifixion— a  very  noble  picture  ;  typified 
by  the  Offering  of  Isaac,  full  of  pathos.  (8)  The  Resurrection  ; 
typified  by  Jonah  restored  from  the  sea,  the  whale  being  with 
great  tact  omitted.  (9)  The  Keys  given  to  Peter ;  typified  by 
the  Dispersion  of  the  Nations  at  Babel.  (A  little  thought  is 
sometimes  required  to  connect  these  subjects,  which  are 
occasionally,  as  in  the  last  pair,  rather  to  be  regarded  as 
opposites  than  types— the  one  remedying  the  other.  Thus,  the 
riunterpart  to  the  Dispersal  at  Babel  is  Christ's  command  to 
ptsach  the  Gospel  to  all  nations.) 

Above  this  fine  frieze  of  subject-pictures  runs  a  course  of 
single  figures,  grouped  in  pairs,  on  either  side  of  the  windows 
in  the  clerestory.  They  are  Old  Testament  characters,  from 
Adam  £.nd  Eve  onward,  ending  with  John  the  Baptist,  as  the 
last  of  the  prophets.  But  as  all  the  characters  have  their 
names  legibly  inscribed  beside  them,  I  need  not  enumerate 
them  ;  all,  however,  should  be  observed,  especially  Adam  and 
Eve,  Miriam,  Deborah,  and  Judith.  Hold  your  hat  or  a  book 
to  cover  the  light  from  the  windows,  if  the  glare  is  too  great, 
and  after  a  little  whil    you  will  see  them  distinctly. 

Now  proceed  again  to  the  front  of  the  choir.  On  either 
side  are  other  mural  paintings,  also  by  Flandrin  :  L,  The 
Entry    of  Christ    into   Jerusalem,  very   beautiful :   R,    The 


JiS 


220 


r.iNjs 


Cv. 


ISe.in'njj  of  the  C'loss.  Round  the  choir,  the  Twnive  Apostles  : 
by  the  pointed  arches  of  the  apse,  the  symbols  of  the 
Evangehsts— the  ant'ei,  lion,  bull,  and  eayle.  Above  all— an 
interesting  link  with  the  earlier  history  of  the  church— are 
the  pious  founders,  Childcbert  and  Ultrogothe  ;  the  origin.d 
patron,  St.  Vincent,  with  his  successor,  St.  (Germain  ;  and 
finally,  Abbot  Morard  who  rebuilt  the  church,  substantially  in 
its  present  form,  after  the  Norman  invasion.  He  is  thus 
commemorated  in  the  beautiful  choir  which  represents  the  work 
of  his  successor,  Abbot  Hugucs,  in  the  next  century. 

Before  leaving,  observe,  architecturally  speaking,  how  a 
Romanesque  church  of  this  type  leads  up  to  the  more 
complex  arrangement,  with  chcvet  and  chapels,  in  Notre- Dame 
and  lat  r  Gothic  churches.  Note  the  simplicity  and  dignity 
of  the  choir.  Note  also  the  peculiar  ch.iracter  of  the  vaulting, 
comparing  it  with  the  later  type  at  Notre-Dame,  and  especially 
with  the  reversion  to  much  the  same  form  in  Renaissance 
times  at  .St.  Etienne-du-Mont,  and  St.  Eustache.  In  spite  of 
its  newness,  much  of  the  modern  decorative  work  is  extremely 
effective  ;  indeed,  as  a  specimen  of  almost  complete  internal 
decoration,  this  church,  notwithstanding  the  cruel  overlaying 
of  its  early  Romanesque  sculpture  by  gold  and  paint,  is 
perhaps  the  most  satisfactory  of  any  in  I'aris,  except  the 
Sainte  Chapelle.  I  strongly  advise  you  to  sit  down  for  some 
time  and  inspect  the  capitals  built  into  the  aisle,  nd  the 
beautiful  Merovingian  pillars  of  the  triforium,  with  an  opera- 
glass,  at  your  leisure. 

On  quitting  the  church,  walk  round  it  for  the  view  on  every 
side,  which  is  picturesque  and  characteristic.  Behind  it,  in 
the  Rue  de  I'Abbaye,  stands  an  interesting  portion  of  the 
16th-century  Abbot's  Palace— the  only  remaining  relic  of 
the  vast  conventual  buildings,  once  enclosed  for  defence  by  a 
wall  and  moat,  and  containing  a  large  lay  and  clerical  popula- 
tion, like  a  little  city.  The  sumptuous  carved  and  gilded  figure 
of  Childcbert,  the  founder,  in  the  Mediaeval  Sculpture  Room 
at  the  Louvre,  came  from  the  doorway  of  the  old  Refectory— 
a  magnificent  work  by  Pierre  de  Montereau  (the  architect  of 
the  Sainte  Chapelle)— now  wholly  demolished.  After  you  have 
visited  each  church,  you  will  often  find  it  pleasant  to  look 


c 
s 

a 
b 

ii 
n 
c 

fi 
a 
¥ 

y 

fi 

s; 
b 
u 

a 
b 
tl 
d 
tf 
n' 
tr 
01 
ai 
w 
ol 
g' 

w 
a 
T 

of 
h( 
sa 
R 


'wnlve  Apostles : 
symbols  of  the 
Above  all— an 
the  church — are 
le  ;  the  original 
(icrmain  ;  and 
,  substantially  in 
)n.  He  is  thus 
)rcsents  the  work 
ntury. 

)caking,    how    a 

p    to    the    more 

,  in  Notre-Dame 

city  and  dignity 

•  of  the  vaulting, 

e,  and  especially 

in   Renaissance 

he.     In  spite  of 

ork  is  extremely 

amplcte  internal 

cruel  overlaying 

1  and    paint,  is 

iris,  except  the 

down  for  some 

aisle,     nd  the 

with  an  opera- 

s  view  on  every 
Behind  it,  in 

portion  of  the 
laining  relic  of 
"or  defence  by  a 
clerical  popula- 
nd  gilded  figure 
kulpture  Room 
old  Refectory — 
the  architect  of 

After  you  have 
leasant  to  look 


TlIF   FAUBOVRC  ST.    GF.RMMN 


V.) 


out  for  such  isolated  works,  divorced  at  present  from  their 
surroundings,  and  placed  at  Cluny  or  elsewhere.  They  will 
always  gain  new  meaning  for  you  by  being  thus  identified  as 
beloni;ing  to  such-and-such  an  original  building.  For  instance, 
in  the  Christian  Antiquities  Room  at  the  Louvre,  you  will  (iml 
an  interesting  capital  of  a  pillar  belonging  to  the  Merovinijian 
church  of  St.  Vincent. 

Now  return  to  the  lioulevard  St.  Germain,  which  a  little 
further  on  occupies  the  site  of  the  old  Abbey  Prison,  famous 
as  the  scene  of  the  massacres  in  September,  1792.  Take  the 
Rue  Bonaparte  on  the  opposite  side,  and  go  straight  on  till 
you  reach  the  Place  St.  5ulplce.  with  its  huge  church  in 
front  of  you.  The  building  replaces  an  earlier  one  to  the  same 
saint :  under  Louis  XIV,  when  the  Faubourg  St.  Germain  was 
becoming  the  quarter  of  the  nobles,  it  was  rebuilt  in  a  style  of 
ugly  magnificence,  befitting  the  maker  of  Versailles  and 
Marly. 

St.  5ulplce»  a  vast  bare  barn,  is  chiefly  interesting,  indeed, 
as  a  gigantic  specimen  of  the  coldly  classical  type  of  church 
built  under  Louis  XIV,  when  Gothic  was  despised,  and  even 
the  Renaissance  richness  of  St.  Eustache  and  St.  ^tiennc  was 
decried  as  barbaric.  It  is  a  painful  monument  of  declining 
taste.  The  exterior  is  chilly.  The  /ti(;a(ie,  whose  sole  recom- 
mendation nowadays  is  its  size  and  its  massiveness,  is  a 
triumph  of  its  kind  ;  it  consists  of  two  stories,  with  arcades 
of  Doric  and  Ionic  pillars  superimposed  on  one  another 
and  crowned  with  a  pair  of  octagonal  towers,  only  one  of 
which  is  completed.  The  scanty  detail  of  the  sculpture  is 
of  the  familiar  character  of  the  decadent  period.  But  Fer- 
gusson  praises  the  general  effect  of  the  exterior. 

The  interior  consists  of  a  cruciform  pseudo-classical  nave 
with  aisles,  two  bare  single  transepts,  and  a  choir  ending  in 
a  circular  apse,— all  vast,  gloomy,  barren,  and  unimpressive. 
The  pillars  and  pilasters  have  Corinthian  capitals,  and  most 
of  the  sculpture  betrays  the  evil  influence  of  Bernini.  The 
holy  water  stoups,  by  the  second  pillars,  however,  are  more 
satisfactory  :  they  consist  of  huge  shells,  presented  by  the 
Republic  of  Venice  to  Frangois  I",  standing  on  bases  by 
Pigalle,— an  effective  piece  of   decorative   work  in   this  un- 


222 


J'.IRIS 


[y 


I 


pleasing  edifice.  As  a  whole,  this  chilly  interior  stands  in 
■  narked  contrast  to  the  polychromatic  richness  of  St.  Germain- 
dcs-I'rt's,  and  to  the  exquisite  ("lothic  detail  of  Notre-Damc 
and  St.  (lermain-rAuxerrois.  The  roof  and  false  cupola 
contrast  very  much  to  their  dis.idvantage  with  the  charming 
Renaissance  vaulting  of  St.  Ktienne-du-Mont  and  St.  Eustachc. 
Accept  this  visit  as  penance  done  to  the  a^e  of  Louis  XIV. 
Save  historically,  indeed,  this  barren  church  is  almost  devoid 
of  interest.  Like  everything  of  its  age,  it  aims  at  grandeur ; 
it  only  succeeds  in  being  gaunt  and  grandiose.  The  very 
size  is  thrown  away  for  want  of  effective  vistas  and  groups 
of  pillars  J  it  looks  smaller  than  it  is,  and  sadly  lacks 
furnishing. 

Several  of  the  chapels  around  this  disappointing  church, 
however,  contain  many  good  modern  pictures :  most  of  them 
also  bear  the  names  of  the  saints  to  whom  they  are  dedicated, 
which  largely  aids  the  recognition  of  the  symbolism.     I  enum- 
erate a  few  of  them  for  their  interest  in  this  matter.     Right 
aisle  (i)  St.  Agnes.    Jacob  and  the  angel :  Heliodorus  expelled 
from  the  Temple  :   by  Delacroix.     (2)  Chapel  of  Souls  in  Pur- 
gatory.     Religion  brings  comfort  to  the  dying ;    benefit  of 
prayers  for  the  dead :   by  Heim.    (3)  Chapel  of  St.  Roch,  the 
plague-saint.      He  prays  for  the  plague-stricken :   he  dies  in 
prison  at  Montpelier  :  by  Abel  de  Pujol.    (4)  St.  Maurice,  the 
soldier  saint.      His  legend:  by  Vinchon.     Left  aisle.     The 
chapels  here  are  chiefly  dedicated  to  the  newer  humanitarian 
saints  of  Catholicism.  (1)  St.  Frani,ois  Xavier.   He  resuscitates 
a  dead  man :  miraculous  cures  at  his  burial :  by  Lafon.    (2) 
St.  F"ran(;ois  de  Sales.     He  preaches  in  Savoy  :  he  gives  to  Ste. 
J.  F.  Chantal  the  constitution  of  his  Order  of  nuns :  by  Hesse. 
(3)  St.  Paul.      His  conversion ;    he  preaches  at  Athens :    by 
Drolling.    (4)  St.  Vincent  de  Paul.     He  founds  the  hospital  for 
foundlings,  with  the  Sisters  of  Charity  :  he  attends  the  death- 
bed of  Louis  XIII:   by  Guillemot.     Chapels  of  the  choir: 
L,  (i)  St.  John  the  Evangelist.     His  martyrdom :  and  his  as- 
sumption.   (2)  San  Carlo  Borromeo,     He  ministers  during  the 
plague  at  Milan  :  he  gives  the  sacrament  to  his  uncle,  Pius  IV, 
on  his  death-bed.    (3)  Uninteresting.    (4)  St.  Louis  the  King. 
He  carries  a  dying  man  during  the  plague  :    he  administers 


Iv 


v.] 


TlIF  FAVnnURn   sr    CFItMAtX 


233 


ntcrior  stands  in 
IS  of  St.  Germain- 
I  of  Notre-Damc 
ind  false  cupola 
ith  the  charming; 
and  St.  Eustache. 
{c  of  Louis  XIV. 
is  almost  devoid 
liins  at  ^'randeur  : 
diose.  The  ver>' 
'istas  and  groups 
and    sadly    lacks 

ppointing  church, 
IS  :  most  of  them 
ley  are  dedicated, 
ibolism.     I  enum- 
s  matter.    Right 
eliodorus  expelled 
I  of  Souls  in  Pur- 
ying ;    benefit  of 
.  of  St.  Koch,  the 
cken  :   he  dies  in 
)  St.  Maurice,  the 
Left  aisle.     The 
ver  humanitarian 
.   He  resuscitates 
:  by  Lafon.    (2) 
:  he  gives  to  Ste. 
nuns :  by  Hesse, 
i  at  Athens  :    by 
s  the  hospital  for 
ttends  the  death- 
Is  of  the  choir: 
3m  :  and  his  as- 
n.sters  during  the 
s  uncle,  Pius  IV, 
Louis  the  King, 
he  administers 


justice  under  the  oak  of  Vinccnnes.  Lady  Chapel,  a  miracle 
of  ugliness.  Statue  of  the  Virgin  on  clouds  in  a  recess,  by 
I'ajon,  lighted  from  abnve,  and  in  execrable  taste,  the  worst 
feature  in  this  insipid  and  often  vulg.ir  building.  Had  statues 
and  frescoes.  The  other  choir  chapels  on  the  R  side  are  dedi- 
cated to  the  older  patiun  saints  uf  Paris.  (1)  St.  Denis.  His 
preaching:  his  condemnation.  (3)  St.  Martin.  He  divides  his 
cloak  with  the  beggar :  he  resuscitates  a  dead  man.  (3)  Ste. 
(^icneviive.  She  brings  food  from  Troyes  during  the  siege  of 
Paris :  miracles  wrought  by  her  relics.  (4)  Our  Lady.  Her 
IHrth  :  her  Presentation  in  the  Temple,  interesting  as  modern 
examples  of  the  treatment  of  these  traditional  subjects.  Over 
the  door,  N.  or  I.  side,  her  Death  :  s.  or  K  side,  her  Assumption. 

St.  Sulpice  has  a  reputation  for  good  music. 

The  Fontaine  St.  Sulpice,  in  front  of  the  church,  is  from 
Visconti's  designs,  and  h.^s  appropriate  statues  of  the  four  great 
French  preachers  — Bossuet,  FYntlon,  Massillon,  and  Flifchier. 
The  pulpit  here  is  still  famous  for  itc  oratory. 

From  St.  Sulpice,  the  Rue  Fdrou,  to  the  R  of  the  faqadcy 
leads  you  straight  to  the  Luxembourg  Palace.  The  long  low 
building  almost  directly  opposite  you  as  you  emerge  is  the 

^*  Musee  du  Luxembourfj;, 

containing  the  works  of  modern  French  painters.  This,  of 
course,  is  one  of  the  most  important  objects  to  be  visited  in 
Paris ;  but  I  do  not  give  any  detailed  account  of  it  here,  be- 
cause the  pictures  themselves  are  entirely  modern,  and  chiefly 
by  living  painters  and  sculptors,  the  various  examples  being 
sent  to  the  Louvre,  or  to  provincial  museums,  within  ten  years 
of  the  death  of  the  artist.  A  visit  to  this  Museum  is  therefore 
indispensable  to  those  who  desire  to  form  a  just  acquaintance 
with  contemporary  art.  But  nothing  in  the  Gallery  demands 
historical  elucidation.  The  visitor  should  provide  himself  with 
the  Official  Catalogue,  which  will  amply  suffice  for  his  needs  in 
this  Gallery.  I  need  hardly  say  that  a  proper  inspection  of  it 
cannot  be  combined  in  one  day  with  the  other  objects  men- 
tioned in  this  Excursion.  Devote  to  it  at  least  one  or  two 
separate  mornings. 
Turning  to  the  L,  as  we  leave  the  end  of  the  Rue  Fcrou,  the 


m 


an 


224 


PARTS 


tv. 


first  building  on  our  R  is  the  official  residence  of  the  President 
of  the  Senate ;  the  second  is  Marie  de  Mddicis's 

Palace  of  the  Luxembourg:, 
now  employed  as  the  seat  of  the  Senate.  Walk  along  its 
faiade,  the  work  of  Jacques  Debrosse,  one  of  the  ablest  archi- 
tects  of  the  later  classicizing  Renaissance,  in  order  to  observe 
the  modified  style  of  the  age  of  Henri  IV  and  Louis  XIII,  which 
it  still  on  the  whole  preserves,  in  spite  of  modern  additions  and 
alterations.  Note  the  gradual  falling-off  from  the  exquisitely 
fanciful  period  of  the  earlier  French  Renaissance,  which  pro- 
duced the  best  parts  of  the  Louvre  and  St.  Eustache  ;  and  the 
way  this  building  lets  us  down  gently  to  the  bald  classicism  of 
Louis  XIV  and  Perrault.  If  you  know  Florence,  observe  also 
the  distinct  reminiscences  of  the  Pitti  Palace.  Continue 
your  walk  along  the  whole  of  the  facade,  as  far  as  the  cor- 
ner by  the  Oddon  Theatre,—  the  subventioned  theatre  of  the 
students  and  the  Quartier  Latin.  Then,  turn  into  the  garden, 
and  note  the  rest  of  the  building,  whose  facade  towards  this 
side,  though  restored  under  Louis  Philippe,  more  nearly  repre- 
sents Debrosse's  architecture  than  does  that  towards  the  main 
thoroughfare.  You  need  not  trouble  about  the  interior:  though 
it  contains  a  few  good  modern  paintings. 

The  garden,  however,  is  well  worth  a  visit  on  its  own 
account,  both  for  the  sake  of  the  typical  manner  in  which  it  is 
laid  out,  and  especially  for  the  handsome  Fontaine  de  M^dlcis 
by  Debrosse,  on  the  side  ne.\t  the  Panthdon.  The  group  of 
sculpture  in  the  middle  represents  Polyphemus  surprising  Acis 
and  Galatea.  Go  round  to  the  back,  to  see  the  (modern) 
Fountain  of  Leda,  —  that  favourite  subject  of  Renaissance 
sculpture.  The  best  way  back  from  this  Excursion  is  by  the 
Rue  de  Seine,  which  leads  you  past  the  Marchd  St-Germain. 

Another  building  in  this  district  to  which,  if  possible,  the 
reader  should  pay  at  least  one  visit,  is  the  Ecole  des  Beaux- 
Arts  in  the  Rue  Bonaparte.  This  collection  is  interesting, 
both  because  it  oo.itains  a  number  of  valuable  fragments  of 
French  Renaissance  work,  especially  architectural,  and  also 
because  of  its  Miiseum  of  Copies,  including  transcripts  (mostly 
very  good;  of  the  best  pictures  of  various  ages,  many  of  which 
are  useful  ro  the  student  of  art-history  for  comparison  with 


[V. 

ice  of  the  President 
'ddicis's 

Walk  along  its 
of  the  ablest  archi- 
in  order  to  observe 
d  Louis  XI II,  which 
odern  additions  and 
rom  the  exquisitely 
.issance,  which  pro- 
Eustache ;  and  the 
:  bald  classicism  of 
irence,  observe  also 
Palace.  Continue 
as  far  as  the  cor- 
3ned  theatre  of  the 
rn  into  the  garden, 
facade  towards  this 
more  nearly  repre- 
it  towards  the  main 
he  interior:  though 

I  visit  on  its  own 
nner  in  which  it  is 
itaine  de  M^dlcis 

3n.  The  group  of 
nus  surprising  Acis 
see  the  (modern) 
ct  of  Renaissance 
Excursion  is  by  the 
chd  St-Germain. 
h,  if  possible,  the 
Ecole  des  Beaux- 
ion  is  interesting, 
lable  fragments  of 
itectural,  and  also 
transcripts  (mostly 
fes,  many  of  which 
■  comparison  with 


v.] 


The  faubourg  sr.  geraiain 


225 


originals  in  the  Louvre  and  elsewhere.  Everybody  who  has 
not  been  to  Rome,  Venice,  and  Florence,  should  certainly  try 
to  visit  this  Museum  ;  and  even  those  who  have  made  first- 
hand acquaintance  with  the  masterpieces  of  Italian  art  in  their 
native  homes  will  find  that  it  sometimes  afTords  them  oppor- 
tunities for  comparison  of  works  widely  scattered  in  the 
originals,  which  can  be  better  understood  here  in  certain  of 
their  aspects  than  in  isolation.  The  building  is  open  to  the 
public,  free,  from  12  to  4  on  Sundays;  on  week-days,  non- 
students  are  also  admitted  from  10  to  4  (except  Mondays\  on 
application  to  the  Concierge  (small  fee).  I  strongly  advise 
a  Sunday  visit,  however,  as  you  are  then  less  hurried,  and  also 
as  the  door  on  the  Quai  Malaquais  is  open  on  that  day.  This 
building  should,  if  possible,  be  made  the  object  of  a  separate 
excursion.     It  takes  a  long  time  to  inspect  it  thoroughly. 

Pass  through  the  Tuileries  Gardens,  or  across  the  Place  dii 
Carrousel,  and  traverse  the  river  by  the  Pont  Royal  or  the  Pont 
du  Carrousel.     The  second  turn  to  the  R,  after  the  last-named 
bridge,  the  Rue  Bonaparte,  will  take  you  straight  to  the  door  of 
the  Ecole.    The  building  occupies  the  site  of  the  old  Couvent 
des  Petits-Augustins ;  the  convent  chapel  and  a  few  other 
remains  of  the  original  works  are  embedded  in  it.    Enter  the 
courtyard.     Here,  during  the  Great  Revolution,  the  painter 
Alexandre  Lenoir  founded  his  Musee  des  Monuments  for  the 
accommodation  of  the  tombs  removed  from  St.  Denis  and  other 
churches.    To  his  indefatigable  exertions  almost  alone  we  owe 
the  preservation  of  these  priceless  Mediaeval  and  Renaissance 
relics.     Under  the  Restoration,  most  of  the  monuments  were 
replaced  in  their  original  positions,  and  we  shall  visit  several  of 
them  later  at  St.  Denis.     To  the  R  of  the  entrance  in  this  First 
Court  is  the  beautiful  doorway  of  the  Chateau  d'Anet— that 
jjem  of  Early  French  Renaissance  architecture,  which   was 
erected  for  Diane  de  Poitiers  by  Philibert  Delorme  and  Jean 
Goujon,  by  order  of  Henri  II,  in  1548  :  many  objects  from  the 
same  building  we  have  already  seen  elsewhere.    The  portal  is 
now  placed  as  the  entrance  to  the  old  Abbey  Chapel.    The 
end  of  this  court  is  formed  by  part  of  the  facade  from  the 
Chateau  de  Qalllon,   erected  for   the  Cardinal  d'Amboise, 
Minister  of  Louis  XII,  and  one  of  the  favourite  residences  of 

P 


I 


ill 


226 


PARIS 


tv. 


;■ 


I  : 


1^ 


Franqois  I".  It  presents  mixed  Renaissance  and  Gothic 
features,  as  did  the  sculpture  of  Michel  Colombe  from  the  same 
building,  which  we  saw  at  the  Louvre.  Both  these  imposing 
works — the  portal  of  Chateau  d'Anet  and  this  /a((ide—sho\i\d 
be  compared  with  the  Italian  Renaissance  doorway  from  Cre- 
mona and  the  Gothic  one  from  Valencia,  which  we  saw  in  the 
collection  of  sculpture  at  the  Louvre.  They  are  indispensable 
to  a  full  comprehension  of  the  French  Renaissance.  The 
Ch&teau  de  Gaillon  was  destroyed  during  the  Revolution,  and 
many  of  its  finest  monuments  arc  now  at  the  Louvre.  If  you 
have  time,  after  seeing  this  Museum,  go  back  and  compare  thtm. 

The  Second  Court,  beyond  {he/i^ade,  contains  several  frag- 
ments of  buildings  and  sculpture,  among  which  notice  the 
capitals  from  the  ^/rf  church  of  Ste.  Ger.^i  ^ve  (Romanesque), 
and  a  fine  stone  basin  of  the  i-th  cent.,  brought  from  St. 
Denis. 

Now,  return  to  the  First  Court,  and  visit  the  former  Chapel. 
It  contains  plaster  casts,  adequately  described  for  casual 
visitors  by  the  labels,  as  well  as  copies  of  paintings.  These 
plaster  casts,  especially  those  of  the  pulpit  from  Pisa,  by  Nicolo 
Pisano,  the  first  mediaeval  sculptor  who  tried  to  imitate  the 
antique,  will  enable  you  to  piece  out  your  conception  of  Italian 
Renaissance  sculpture,  as  formed  at  the  Louvre.  Do  not  des- 
pise these  casts  :  they  are  excellent  for  comparison.  Among  the 
pictures,  notice  the  copy  of  Mantcgna's  fresco  of  St.  James 
conducted  to  Martyrdom,  from  the  church  of  the  Eremitani  at 
Padua.  The  fresco  itself  is  a  work  of  Mantegna's  first  period, 
and  I  select  this  copy  for  notice  because  it  will  help  you  to  fill 
in  the  idea  you  farmed  of  that  great  painter  from  consideration 
of  his  originals  at  the  Louvre.  Notice,  for  exampi  tnu  strenu- 
ous efforts  at  perspective  and  foreshortening  ;  the  ii;  ji.jtion 
of  decorated  Renaissance  <irchitecture  ;  the  love  of  ^j!  Is  ^nd 
ornament ;  the  classical  armour ;  and  many  other  (r,  ares 
which  display  the  native  bent  of  Mantegna,  but  not  as  yet  in 
the  maturity  of  his  powers.  Observe,  again,  the  copy  of  Ghir- 
landajo's  exquisite  Adoration  of  the  Magi,  with  its  numerous 
portraits,  disguised  as  the  Three  Kings,  the  Shepherds,  and  the 
spectators,  to  which  I  have  already  called  attention  when 
speaking  of  Luini's  treatment  of  this  subject  in  the  Louvre. 


[v. 


v.] 


THE  FAUBOURG  SI.    GERMAIN 


22' 


sancc  and  Gothic 
nbe  from  the  same 
th  these  imposing 
his  facade— ihowM 
doorway  from  Cre- 
lich  we  saw  in  the 

are  indispensable 
Renaissance.  The 
le  Revolution,  and 
e  Louvre.  If  you 
and  compare  thtm. 
ntains  several  fra^;- 
which  notice  the 
've  (Romanesque), 

brought  from  St. 

lie  former  Chapel. 
scribed  for  casual 
talntings.  These 
)m  Pisa,  by  Nicolo 
led  to  imitate  the 
iception  of  Italian 
vre.  Do  not  des- 
rison.  Among  the 
?sco  of  St.  James 
f  the  Eremitani  at 
;gna's  first  period, 
ill  help  you  to  fill 
rom  consideration 
ampl  tnc  strenu- 
;  the  iutrtdiiction 
ovc  of  "!  fs  nd 
ly  other  {?.  ires 
,  but  not  as  yet  in 
the  copy  of  Ghir- 
ivith  its  numerous 
hepherds,  and  the 
attention  when 
:t  in  the  Louvre. 


I  do  not  enlarge  upon  these  mere  copies,  as  the  ori-jinals  will 
occupy  us  at  Florence  or  Munich  ;  but  the  student  who  has 
become  interested  in  the  evolution  of  art  will  find  it  a  most 
valuable  study  to  trace  the  connection,  fust,  between  these 
subjects  and  others  like  them  in  the  Louvre,  and,  second,  be- 
tween these  copies  of  works  by  various  masters  and  the  originals 
by  the  same  artists  preserved  in  that  collection.  Compare, 
and  compare,  and  compare  again  ceaselessly. 

The  Inner  Court,  the  Cour  du  Mfirier.  leads  to  another 
hall,  the  Salle  de  Melpomene,  entered  on  Sundays  direct 
from  the  Quai  Malaquais.  This  room  also  contains  a  large 
number  of  copies  which  are  valuable  for  study  to  those  who 
have  not  seen  the  originals,  and  which  will  often  recall 
forgotten  facts  in  new  connections  to  those  who  have  seen 
them.  I  would  call  special  attention,  from  the  point  of  view 
of  this  book,  to  the  good  copies  of  Raphael's  and  Perugino's 
Marriage  of  the  Virgin  :  as  the  originals  are  respectively  at 
Milan  and  Caen  (two  places  sufficiently  remote  from  one 
another),  the  composition  of  the  two  can  be  better  compared 
here  than  under  any  other  circumstances.  As  examples  of 
development,  I  shall  notice  them  briefly.  Perugino's  is,  of 
course,  the  older  work.  It  was  painted  for  a  chapel  in  the 
Cathedral  at  Perugia,  where  it  still  hung  when  Raphael  painted 
his  imitation  of  it.  First  look  carefully  at  both  works,  and 
then  read  these  remarks  upon  them.  The  Sposalizio  or 
Marriage  of  the  Virgin,  one  of  the  set  subjects  in  the  old 
series  of  the  Life  of  Mary,  and  often  used  as  an  altar-piece, 
consists  traditionally  of  the  following  features.  In  the  centre, 
stands  the  High  Priest,  wearing  his  robes  and  ephod — or  what 
the  particular  painter  takes  for  such  :  he  joins  the  hands  of 
Joseph  and  the  Madonna.  Joseph  stands  always  on  the  L 
sid^  of  the  picture,  which  Perugino  has  rightly  assigned  to 
him  ;  though  Raphael,  already  revolutionary,  has  reversed  this 
order.  He  holds  in  his  hand  a  staff,  which  has  budded  into 
lily  flowers— the  tradition  (embodied  in  the  Protevangelion) 
being  that  the  High  Prijst  caused  the  various  suitors  for 
Mary's  hand  to  place  their  staffs  in  the  Holy  of  Holies,  as 
had  long  before  been  done  in  the  case  of  Aaron,  intending 
that  he  whose  staflF  budded   should  become  the  husband  of 


mmti 


228 


PARIS 


[V 


n 


h 


6"; 
j 

i  ; 


the  Holy  Virgin.  Joseph's  put  forth  leaves  and  flowers  ;  and  so 
this  staff,  either  flowering  or  otherwise,  is  the  usual  symbol  by 
which  you  can  recognise  him  in  sacred  art.  Behind  Joseph 
stand  the  other  disappointed  suitors,  one  or  more  of  whom 
always  breaks  his  staff  in  indignation.  Behind  Mary  stand 
■:he  attendant  maidens— the  Virgins  of  the  Lord — together 
with  Our  Lady's  mother,  St  Anne,  recognisable  by  her  peculiar 
head-dress  and  wimple.  (Compare  Lionardo  in  the  Salon 
Carre.)  A  temple  always  occupies  the  background.  Perugino 
took  the  main  elements  of  this  scene  from  earlier  painters. 
(You  will  find  numerous  examples  in  the  churches  and 
galleries  at  Florence  and  elsewhere.)  But  he  transformed  it 
in  accordance  with  his  peculiar  genius  and  his  views  of  art, 
substituting  a  round  or  octagonal  temple  of  Renaissance 
architecture  for  the  square  Gothic  building  of  earlier  painters. 
Such  round  buildings  were  the  conventional  representation 
of  the  Temple  at  Jerusalem  among  Renaissance  artists.  The 
peculiar  head-dress  and  the  balanced  position  are  also 
characteristic  of  Perugino.  How  closely  Raphael  followed  his 
master  on  these  points  of  composition  you  can  see  for  yourself 
by  comparing  the  two  copies.  But  you  can  also  see  how 
thoroughly  he  transformed  Perugino's  spirit ;  retaining  the 
form  while  altering  the  whole  sentiment  and  feeling  of  the 
figures.  You  see  in  it  Perugino's  conception,  but  Raphael's 
treatment.  I  have  called  special  attention  to  these  two 
pictures  because  they  admirably  illustrate  the  value  and 
importance  of  comparison  in  art.  You  cannot  wholly  under- 
stand the  Raphael  without  having  seen  the  Perugino  ;  nor  can 
you  wholly  understand  the  Perugino  without  having  seen  the 
Ghirlandajos  and  Fra  Angelicos,  and  Taddco  Caddis  which 
preceded  it.  Go  from  one  to  the  other  of  these  two  pictures 
and  note  the  close  resemblance  even  in  the  marble  pavement, 
the  grouping  of  each  component  cluster,  and  the  accessories 
in  the  background.  Nay,  the  more  graceful  attitude  of  the 
suitor  who  breaks  his  staff  in  the  Raphael  is  borrowed  from  a 
minor  figure  in  the  background  of  the  Perugino.  It  is  only  by 
thus  comparing  work  with  work  that  we  can  arrive  at  a  full 
comprehension  of  early  painting,  and  especially  of  the  relations 
between  painter  and  painter. 


[V 

flov.ers ;  and  so 

sual  symbol  by 

Behind  Joseph 

more  of  whom 

>d   Mary  stand 

Lord — together 

by  her  peculiar 

in  the   Salon 

und.     Perugino 

larlier  painters. 

churches    and 

transformed  it 

s  views  of  art, 

)f  Renaissance 

iarlier  painters. 

representation 

e  artists.    The 

ition    are    also 

lel  followed  his 

see  for  yourself 

also  see  how 

retaining    the 

feeling  of  the 

but  Raphael's 

to    these    two 

the  value  and 

wholly  under- 

igino ;  nor  can 

laving  seen  the 

Gaddis  which 

ie  two  pictures 

rble  pavement, 

the  accessories 

Utitude  of  the 

jrrowed  from  a 

.     It  is  only  by 

arrive  at  a  full 

of  the  relations 


v.] 


THE  FAUBOURG   ST.    GERMAF.X 


220 


I  will  not  call  special  attention  to  the  various  other  copies 
in  this  Museum.  I  will  merely  point  out,  as  casting  light  on 
subjects  wc  have  already  considered,  Verocchio's  Baptism  of 
Christ,  Perugino's  group  from  the  same  subject,  Raphael's 
Entombment,  Botticelli's  Adoration  of  the  Magi,  and  Ma- 
donnas by  Filippo  Lippi,  Giovanni  Bellini,  Correggio,  and 
Maategna.  Many  of  these  can  be  compared  here  and 
nowhere  else.  For  those  who  are  making  a  long  stay  in 
Paris,  a  judicious  use  of  this  collection,  in  conjunction  with 
the  Louvre,  will  cast  unexpected  light  in  many  cases  on  works 
in  that  Gallery  which  it  has  been  impossible  here  to  describe 
in  full  detail. 

The  Amphith^Atre,  approached  from  the  Second  Court, 
contains  in  its  Vestibule  a  number  of  plaster  casts,  also 
valuable  for  purposes  of  comparison.  The  transitional  archaic 
period  of  Greek  sculpture,  for  instance,  ill  represented  at  the 
Louvre,  is  here  well  exemplified  by  casts  from  the  statues  in 
the  pediment  of  the  Temple  of  Athene  at  .^gina,  now  in 
the  Pinakothek  at  Munich.  Compare  these  with  the  reliefs 
from  Thasos  in  the  Salle  de  Phidias.  Similarly,  casts  of  the 
Children  of  Niobe,  belonging  to  the  same  school  as  the  Venus 
of  Milo,  are  useful  for  comparison  with  that  famous  statue. 
The  Amphitheatre  itself,  behind  the  Vestibule,  contains  Paul 
Delaroche's  famous  H^micycle,  one  of  that  great  painter's 
most  celebrated  works.  Do  not  think,  because  I  do  not  specify, 
that  the  other  objects  in  this  Museum  are  unworthy  of  notice. 
Observe  them  for  yourself,  and  return  afterwards  to  the 
Louvre  time  after  time,  comparing  the  types  you  have  seen 
here  with  originals  of  the  same  artists  and  variants  of  the 
s.-ime  subject  in  that  collection. 


''  ''yjuff;i.--.wm»ii,,.i,-  j-i. 


J 


£S» 


VI 
ST.  DENIS 

r  A  BOUT  six  miles  north  of  the  original  Paris  stands  the 
L/A.  K^eat  Basilica  of  St.  Denis— the  only  church  in 
Paris,  and  i  think  in  France,  called  by  that  ancient  name, 
which  carries  us  back  at  once  to  the  days  of  the  Roman 
Empire,  and  in  itself  bears  evidence  to  the  antiquity  of  the 
spot  as  a  place  of  worship.  Around  it,  a  squalid  modern 
industrial  town  has  slowly  grown  up ;  but  the  nucleus  of 
the  whole  place,  as  the  name  itself  shows,  is  the  body  and 
shrine  of  the  martyred  bishop,  St.  Denis.  Among  the  nu- 
merous variants  of  his  legend,  the  most  accepted  is  that  which 
makes  the  apostle  of  Paris  have  carried  his  head  to  this 
spot  from  Montmartre.  (Others  say  he  was  beheaded  in  Paris 
and  walked  to  Montmartre,  his  body  being  afterwards  trans- 
lated to  the  Abbey ;  while  there  are  who  see  in  his  legend  a 
survival  of  the  Dionysiac  festival  and  sacrifice  of  the  vine- 
growers  round  Paris — Denis  =  Dionysius  =  Dionysus.)  How- 
ever that  may  be,  a  chapel  was  erected  in  275  above  the  grave 
of  St.  Denis,  on  the  spot  now  occupied  by  the  great  Basilica ; 
and  later,  Ste.  Genevieve  was  instrumental  in  restoring  it 
Dagobert  I,  one  of  the  few  Frankish  kings  who  lived  much  in 
Paris,  built  a  "basilica"  in  place  of  the  chapel  (630),  and 
instituted  by  its  side  a  Benedictine  Abbey.  The  church  and 
monastery  which  possessed  the  actual  body  of  the  first  bishop 
and  great  martyr  of  Paris  formed  naturally  the  holiest  site  in  the 
neighbourhood  of  the  city  ;  and  even  before  Paris  became  the 
capiAl  of  a  kingdom,  the  abbots  were  persons  of  great  importance 
in  the  Frankish  state.  The  desire  to  repose  close  to  the  grave 
of  a  saint  was  habitual  in  early  times,  and  even  (with  the 
obvious  alteration  of  words)  ante-dated  Christianity — every 
wealthy  Egyptian  desiring  in  the  same  way  to  "sleep  with 


V  *: 


V..] 


ST.   DENIS 


231 


iris  stands  the 
nly  church  in 
ancient  name, 
)f  the  Roman 
itiquity  of  the 
jualid  modern 
he  nucleus  of 
the  body  and 
mong  the  nu- 
.  is  that  which 

head  to  this 
eaded  in  Paris 
erwards  trans- 
1  his  legend  a 
:  of  the  vine- 
lysus.)  How- 
bove  the  grave 
;reat  Basilica ; 
n  restoring  it 

lived  much  in 
pel  (630),  and 
he  church  and 
:he  first  bishop 
tliest  site  in  the 
ris  became  the 
eat  importance 
se  to  the  grave 
jven  (with  the 
stianity — every 
;o  "sleep  with 


Osiris."  Dagobert  himself  was  buried  in  the  church  he 
founded,  beside  the  holy  martyr ;  and  in  later  times  this  very 
sacred  spot  became  for  the  same  reason  the  recognised  burial- 
place  of  the  French  kings.  Dagobert's  fane  was  actually 
consecrated  by  the  Redeemer  Himself,  who  descended  for  the 
purpose  by  night,  with  a  great  multitude  of  saints  and  angels. 

The  existing  Basilica,  though  of  far  later  date,  is  the  oldest 
church  of  any  importance  in  the  neighbourhood  of  Paris.     It 
was  begun  by  Suger,  abbot  of  the  monastery,  and  sagacious 
minister  of  Louis  VI  and  VI  I,  in  1 1 2 1.     As  yet,  Paris  itself  had 
no  great  church,  Notre-Dame  having  been  commenced  nearly 
50  years  later.     The  earliest  part  of  Suger-s  building  is  in  the 
Romanesque  style ;  it  still  retains  the  round  Roman  arch  and 
many  other  Roman  constructive  features.    During  the  course 
of  the  so  years  occupied  in  building  the  Basilica,  however,  the 
Gothic  style  was  developed  ;  the  existing  church  therefore  ex- 
hibits both  Romanesque  and  Gothic  work,  with  transitional 
features  between  the  two,  which  add  to  its  interest.    Archi- 
tecturally, then,  bear  in  mind,  it  is  in  part  Romanesque, 
passing  into  Gothic.  The  interior  is  mostly  pure  Early  Gothic. 
The  neighbourhood  to  Paris,  the  supremacy  of  the  great 
saint,  and  the  fact  that  St.  Denis  was  especially  the  Royal 
Abl>ey,  all  combined  to  give  it  great  importance.    Under  Suger's 
influence,  Louis  VI  adopted  the  oriflamme  or  standard  of  St. 
Denis  as  the  royal  banner  of  France.    The  Merovingian  and 
Carlovingian  kings,  to  be  sure— Germans  rather  than  Fren>:h— 
had  naturally  been  buried  elsewhere,  as  at  Aix-la-Charelle, 
Rheims,  and  Soissons  (though  even  of  them  a  few  were  interred 
beside  the  great  bishop  martyr).     But  as  soon  as  the  Parisian 
dynasty  of  the  Capets  came  to  the  throne,  they  were  almost 
without  exception  buried  at  St.  Denis.     Hence  the  abbey  came 
to  be  regarded  at  last  mainly  as  the  mausoleum  of  Frencli 
royalty,  and  is  still  too  often  so  regarded  by  tourists.    But 
though  the  exquisite  Renaissance  tombs  of  the  House  of  Valois 
would  well  deserve  a  visit  on  their  own  account,  they  are  at  St. 
Denis,  but  accessories  to  the  great  Basilica.    Besides  the  actual 
tombs,  too,  many  monuments  were  erected  here,  in  the  13th 
cent,  (by  St.  Louis)  and  afterwards,  to  earlier  kings  buried 
elsewhere,  some  relic  of  whom,  however,  the  abbey  possessed 


•MXSBiWi""-- 


232 


PARIS 


[VI. 


\  ? 

M 

1 


i 


and  thus  honoured.  Hence  several  of  the  existing  tombs  are  of 
far  later  date  than  the  kings  they  commemorate  ;  those  of  the 
Valois  almost  alone  are  truly  contemporary. 

At  the  Revolution,  the  Basilica  suffered  irreparable  losses. 
The  very  sacred  reliquary  containing  the  severed  head  of  St. 
Denis  was  destroyed,  and  the  remains  of  the  martyr  and  his 
companions  desecrated.    The  royal  bones  and  bodies  were  also 
disinterred  and    flung  into    trenches  indiscriminately.      The 
tombs  of  the  kings  were  condemned  to  destruction,  and  many 
(chiefly  in  metal)  were  destroyed  or  melted  down,  but  not  a  few 
were  saved  with  difficulty  by  the  exertions  of  antiquaries,  and 
were  placed  in  the  Museum  of  Monuments  at  Paris  (now  the 
i:cole  des  Beaux-Arts),  of  which  Alexandre  Lenoir  was  curator. 
Here,  they  were  greatly  hacked  about  and  mutilated,  in  order 
to  fit    them    to    their  new    situations.      At  the  Restoration, 
however,  they  were  sent  back  to  St.  Denis,  together  with  many 
other  monuments  which  had  no  real  place  there ;  but,  being 
housed  in  the  crypt,  they  were  further  clipped  to  suit  their  fresh 
surroundings.    Finally,  when  the  Basilica  was  restored  under 
VioUet-le-Duc,  the  tombs  were  replaced  as  nearly  as  possible  in 
their  old  positions  ;  but  several  intruders  from  elsewhere  are 
still  interspersed  among  them.    Louis  XVIII  brought  back  the 
mingled  bones  of  his  ancestors  from  the  common  trench  and 
interred  them  in  the  crypt. 

Remember,  then,  these  things  about  St.  Denis  :  (i)  It  is  (or 
was),  first  and  above  all  things,  the  shrine  of  St.  Denis  and 
his  fellow-martyrs.  (2)  It  contains  the  remnant  of  the 
tombs  of  the  French  kings.  (3)  It  isolder  in  part  than  almost 
any  other  building  we  have  yet  examined. 

As  regards  the  tombs,  again,  bear  in  mind  these  facts.  All 
the  oldest  have  perished  ;  there  are  none  here  that  go  back 
much  further  than  the  age  of  St.  Louis,  though  they  often 
represent  personages  of  earlier  periods  or  dynasties.  The  best 
are  those  of  the  Renaissance  period.  These  are  greatly  m- 
fluenced  by  the  magnificent  tomb  of  Giangaleazzo  Visconti  at 
the  Certosa  di  Pavia,  near  Milan.  Especially  is  this  the  case 
with  the  noble  monument  of  Louis  XII,  which  closely  imitates 
the  Italian  work.  Now,  you  must  remember  that  Charles  VIII 
and  Louis  XII  fought  much  in  Italy,  and  were  masters  of  Milan  ; 


[VI. 

ing  tombs  are  of 
ite  ;  those  of  the 

reparable  losses, 
sred  head  of  St. 
I  martyr  and  his 
bodies  were  also 
iminately.     The 
iction,  and  many 
wn,  but  not  a  few 
antiquaries,  and 
t  Paris  (now  the 
noir  was  curator, 
lutilated,  in  order 
the  Restoration, 
;ether  with  many 
here ;  but,  being 
to  suit  their  fresh 
IS  restored  under 
irly  as  possible  in 
)m  elsewhere  are 
brought  back  the 
imon  trench  and 

:nis:    (i)  It  is  (or 

of  St.  Denis  and 

remnant  of  the 

n  part  than  almost 

these  facts.  All 
lere  that  go  back 
lough  they  often 
lasties.  The  best 
se  are  greatly  m- 
ileazzo  Visconti  at 
y  is  this  the  case 
:h  closely  imitates 
that  Charles  VIII 
masters  of  Mil.in ; 


VI.] 


ST.  PFxrs 


233 


hence  this  tomb  w.is  familiar  to  them  ;  and  their  Italian  experi- 
ences had  much  to  do  with  the  French  Renaissance.  The 
Cardinal  d'Amboise,  Louis's  minister,  built  the  ChAteau  dc 
Gaillon,  and  much  of  the  artistic  impulse  of  the  time  was  due 
to  these  two.  Henceforth  recollect  that  though  P'ranqois  I"  is 
the  Prince  of  the  Renaissance,  Louis  XII  and  his  minister  were 
no  mean  forerunners. 

The  Basilica  is  open  daily  ;  the  royal  tombs  are  shown  to 
parties  every  half-hour  ;  but  the  attendants  hurry  visitors 
through  with  perfunctory  haste,  and  no  adequate  time  is  given 
to  examine  the  monuments.  Therefore,  do  not  go  to  St. 
Denis  tiil  after  you  have  seen  the  Renaissance  Sculpture  at 
the  Louvre,  which  will  have  familiarised  you  with  the  style,  and 
will  enable  you  better  to  grasp  their  chief  points  quickly. 
Also,  go  in  tlie  morning,  on  a  briglit  day:  in  the  late  after- 
noon or  on  dark  days  you  see  hardly  anything.] 

Start  from  the  Gare  du  Nord.  About  four  trains  run  every 
hour.  There  is  also  a  tramway  which  starts  from  the  Op»!ra, 
the  Madeleine,  or  the  Place  du  Ch^telet,  but  the  transit  is  long, 
and  the  weary  road  runs  endlessly  through  squalid  suburbs,  so 
that  the  railway  is  far  preferable.  Start  early.  Take  your 
opera-glasses. 

From  the  St.  Denis  station,  take  the  road  directly  to  the  R  as 
far  as  the  modem  Parish  Church,  when  a  straight  street  in 
front  of  you  (a  little  to  the  L)  leads  directly  to  the  Basilica. 
On  the  L  of  the  Place  in  front  of  the  great  church  is  the  Hotel 
de  Ville,  on  which  it  is  interesting  to  notice,  high  up  on  the 
front,  the  ancient  royal  war-cry  of  "  Montjoye  St.  Denis  ! " 

Turn  to  the  Basilica.  The  facade,  of  the  age  of  Abbot 
Suger,  is  very  irregular.  It  consists  of  two  lateral  towers,  and 
a  central  portion,  answering  to  the  Nave.  Only  the  south 
tower  is  now  complete;  the  other,  once  crowned  by  a  spire, 
was  struck  by  lightning  in  1837.  Observe  the  inferiority  in 
unity  of  design  to  the  fine  faqade  of  Notre-Dame,  the  stories  of 
the  towers  not  answering  in  level  to  those  of  the  central  por- 
tion. We  have  here  the  same  general  features  of  two  western 
towers  and  three  recessed  portals  ;  but  Notre-Dame  has  im- 
proved upon  them  with  Gothic  feeling.    The  Ipwer  arches  are 


334 


PARIS 


[VI. 


If 


II 


rnund  and  Romanesque.  The  upper  ones  show  in  many  cases 
an  incipient  Gothic  tendency.  The  rose  window  has  been 
converted  into  a  clock.  On  either  side  of  it,  in  medallions,  are 
the  symbols  of  the  four  Evangelists.  Observe  the  fine  pillars 
and  Romanesque  arcade  of  the  one  complete  tower.  Also,  the 
reliefs  of  kings  of  Israel  and  Judah  in  the  blind  arcade  which 
caps  the  third  story  in  both  towers.  The  coarse  and  ugly 
battlements  which  spoil  the  front  are  part  of  the  defensive  wall 
of  the  Abbey,  erected  during  the  English  wars  in  the  14th 
century.  Behind  them,  a  little  way  off,  you  can  see  the  high 
and  pointed  roof  of  the  nave,  crowned  by  the  statue  of  the 
patron,  St.  Denis. 

Now,  enter  the  enclosure  and  examine  the  three  round- 
arched  portals.  The  Central  Doorway  has  for  its  subject  the 
usual  scene  of  the  Last  Judgment.  The  architecture  of  the 
framework  is  still  in  the  main  ihat  of  the  13th  cent.  The 
relief  in  the  tympanum  has  been  much  restored,  but  still  re- 
tains its  Romanesque  character.  In  the  centre  is  Christ, 
enthroned,  with  angels.  On  His  R  hand,  the  blessed,  with  the 
Angel  of  tht  Last  Trump  as  elsewhere.  On  His  L,  the  con- 
demned, with  the  Angel  bearing  the  sword,  and  thrusting  the 
wicked  into  Hell :  all  conventional  features.  The  Latin  in- 
scriptions mean,  "  Come,  ye  blessed  of  My  Father " ;  and 
"  Depart  from  Me,  ye  wicked."  Beneath  is  the  (ieneral  Resur- 
rection, souls  rising  (mostly  naked)  from  the  tomb.  To  R  and 
L  of  the  doorway,  below,  are  the  frequent  subjects  of  the  Wise 
and  Foolish  Virgins.  Above,  on  the  archway,  figures  of  saints 
and  patriarchs,  amongst  whom  is  conspicuous  King  David. 
Notice  in  the  very  centre  or  key  of  the  archway,  Christ  receiv- 
ing souls  from  angels.  To  His  R,  Abraham  with  three  blessed 
souls  in  hie  bosom  (as  .it  St.  Germain  I'Auxerrois).  To  His  L, 
devils  seizing  the  condemned,  whom  they  thrust  into  hell,  while 
angels  struggle  for  them.  Higher  still,  on  the  arch,  angels 
swinging  a  censer,  and  .in  angel  displaying  a  medallion  of  the 
lamb.  This  door  formed  the  model  on  which  those  of  Notre- 
Dame,  the  Sainte  Chapelle,  St.  Germain  I'Auxerrois,  and  many 
others  in  Paris  of  later  date,  were  originally  based.  The  actual 
doors  have  naive  bronze  reliefs  of  the  Passion,  Resurrection, 
and  Ascension.    Notice  the  quaint  character  of  these  reliefs. 


[VI. 

in  many  cases 
dow  has  been 
nncdallions,  are 
ihe  fine  pillars 
ver.     Also,  the 

arcade  which 
irse  and  ugly 
defensive  wall 
IS  in  the  14th 

see  the  high 

statue  of  the 

three  round- 
its  subject  the 
itecture  of  the 
th  cent.  The 
d,  but  still  re- 
lire  is  Christ, 
;ssed,  with  the 
lis  L,  the  con- 
thrusting  the 
The  Latin  in- 
Father  " ;  and 
General  Resur- 
nb.  To  R  and 
ts  of  the  Wise 
;ures  of  saints 
King  David. 
Christ  receiv- 
i  three  blessed 
s).  To  His  L, 
nto  hell,  while 
;  arch,  angels 
idallion  of  the 
^ose  of  Notre- 
ois,  and  many 
i.  The  actual 
,  Resurrection, 
■  these  reliefs, 


VI.] 


ST.    DEiVIS 


235 


and  of  the  delicate  decorative  design  which  surrounds  them, — 
broken,  in  the  case  of  the  .Supper  at  Enimaus,  by  the  figure  of  a 
monk,  probably  Abbot  Sujjcr,  grasping  a  pillar.  The  Resurrec- 
tion, with  its  sleeping  Roman  soldiers,  and  the  Kiss  of  Judas, 
with  Peter  sheathing  his  sword  and  Christ  healing  the  ear  of 
Malchus,  are  also  very  typical.  Do  not  fail  to  notice,  either, 
the  beautiful  decoration  of  the  pilasters  and  their  capitals.  All 
this  is  delicate  and  characteristic  Romanesque  tracery. 

The  other  doors  commemorate  the  History  of  St.  Denis. 
On  the  Soi///t  Door  is  a  much-restored  and  practically  modern 
relief  of  St.  Denis  in  prison  with  Christ  bringing  him  the  last 
sacrament ;  it  has  been  largely  made  up  by  the  aid  of  the  old 
French  painting  of  the  same  subject  in  the  Louvre.  In  front 
are  figures  symbolical  of  his  martyrdom— the  executioner,  etc. 
On  the  sides,  reliefs  of  the  Months.  On  the  A^or//i  Door;  St. 
Denis  condemned  and  on  his  way  to  Montmartre,  with  his  two 
companions,  Rusticus  and  Eleutherius,  chained  ;  they  are  ac- 
companied in  the  sky  by  the  Eternal  Father  and  the  heavenly 
host.  On  the  archway,  interesting  reliefs  of  the  three  martyrs, 
with  an  angel  supporting  the  chAsse  containing  their  relics. 
On  the  sides,  the  signs  of  the  Zodiac. 

Walk  round  the  Nortli  Side  to  observe  the  decorated  flam- 
boyant architecture  of  the  chapels  of  the  North  Aisle  (much 
later)  with  the  flying  buttresses  above  them.  Also,  the  North 
Transept,  with  its  rose  window,  and  the  peculiar  radiating 
cliapels  around  the  apse,  which  form  a  characteristic  feature 
of  the  Romanesque  style.  Observe  these  as  well  as  you  can 
from  the  extreme  end  of  the  railing.  Return  to  Transept.  The 
sculpture  over  the  North  Portal  represents  the  Decapitation  of 
St.  Denis.  On  the  centre  pier,  a  Madonna  and  Child.  R  and 
L,  Kings  of  Judah. 

The  South  Side  is  inaccessible.  It  is  enclosed  by  buildings 
on  the  site  of  the  old  monastery  (not  ancient — age  of  Louis 
XIV),  now  used  as  a  place  of  education  for  daughters  of  Cheva- 
liers de  la  Ldgion  d'Honneur. 

The  interior  is  most  beautiful.  The  first  portion  of  the 
church  which  we  enter  is  a  vestibule  or  Galilee  under  the 
side  towers  and  end  of  the  Nave.  Compare  Durham.  It  is 
of  the  age  of  Abbot  Suger,  but  already  exhibits  pointed  arches 


I 


336 


J'ARfS 


[VI. 


I 


lit 


i  i} 


:<! 


;! 


I 


in  the  upper  part.  The  architecture  is  solid  and  massive,  but 
somewiiat  Kloi'my- 

Descend  a  few  steps  into  the  Nave,  whicii  is  surrounded  by 
•inKJc  aisles,  whose  vaulting  should  be  noticed.  The  architec- 
ture of  this  part,  now  pure  Early  Gothic,  is  extremely  lovely. 
The  triforium  is  delicate  and  graceful.  The  windows  in  the 
clerestory  above  it,  representing  kings  and  queens,  are  almost 
all  modern.  Notice  the  great  height  of  the  Nave,  and  the 
unusual  extent  to  which  the  triforium  and  clerestory  project 
above  the  noble  vaulting  of  the  aisles.  Note  that  the  tri- 
forium itself  opens  directly  to  the  air,  and  is  supplied  with 
stained-glass  windows,  seen  through  its  arches.  Sit  awhile 
in  this  light  and  lofty  Nave,  in  order  to  take  in  the  beautiful 
view  up  the  church  towards  the  choir  and  chcvet. 

Then  walk  up  to  the  Barrier  near  the  Transepts,  where  sit 
again,  in  order  to  observe  the  Choir  and  Transepts  with  the 
staircase  which  leads  to  the  raised  Atnbulatory.  Observe  that 
the  transepts  are  simple.  The  ugly  stained  glass  in  the  win- 
dows of  their  clerestory  conto  illustrations  of  the  reign  of 
Louis  Philippe,  with  extremr  icturesque  costumes  of  the 

period.    The  trousers  are  u.  .jble.     The  architecture  of 

the  Nave  and  Choir,  with  its  light  and  airy  arches  and  pillars, 
is  of  the  later  13th  century. 

The  reason  for  this  is  that  Suger's  building  was  thoroughly 
restored  from  1 230  onwards,  in  the  pure  pointed  style  of  that 
best  period.  The  upper  part  of  the  Choir,  and  the  whole  of 
the  Nave  and  Transepts  was  then  rebuilt— which  accounts  for 
the  gracefulness  and  airiness  of  its  architecture  when  con- 
trasted with  the  dark  and  heavy  vestibule  of  the  age  of  Suger. 

Note  from  this  point  the  arrangement  of  the  Choir,  which, 
to  those  who  do  not  know  Italy,  will  be  quite  unfamiliar.  As 
at  San  Zeno  in  Verona,  San  Miniato  in  Florence,  and  many 
other  Romanesque  churches,  the  Choir  is  raised  by  some 
steps  above  the  Nave  and  Transepts  ;  while  the  Crypt  is 
slightly  depressed  beneath  them.  In  the  Crypt,  in  such  cases, 
are  the  actual  bodies  of  the  saints  buried  there  ;  while  the 
Altar  stands  directly  over  their  tombs  in  the  Choir  above  it. 

Look  every  way  from  this  point  at  the  tombs  within  sight, 
f\t  the  Choir  and  Transepts,  and  at  the  steps  of  the  Ambula- 


\i. 

tor 
aw 
an 

I 
pa 

en 

of 

A'" 
sib 

l!r 

tor 

bcl 

the 

but 

gal 

Th 

of 

Fr< 

Loi 

stai 

ner 

'I 

the 

ns 

to  I 

acn 

the 

refe 

but 

abb 

sigr 

tof( 

one 

St. 

R,  I 

dem 

sain 

swii 


[VI. 

id  and  massive,  but 

li  is  surrounded  by 
ced.  The  arciiitec- 
is  extremely  lovely, 
he  windows  in  the 

queens,  are  almost 
the  Nave,  and  the 
I  clerestory  project 

Note  that  the  tri- 
id  is  supplied  with 
rches.  Sit  awhile 
ikc  in  the  beautirul 
hcz'ct. 

"ransepts,  where  sit 
rransepts  with  the 
tory.  Observe  that 
d  glass  in  the  win- 
)ns  of  the  reign  of 
uc  costumes  of  the 
rhe  architecture  of 

arches  and  pillars, 

ing  was  thoroughly 
linted  style  of  that 
,  and  the  whole  of 
which  accounts  for 
tecture  when  con- 
■  the  age  of  Suger. 
f  the  Choir,  which, 
lite  unfamiliar.  As 
'lorence,  and  many 
is  raised  by  some 
'hile  tlie  Crypt  i> 
rypt,  in  such  cases, 
1  there  ;  while  the 
•■  Choir  above  it. 
tombs  within  sight, 
eps  of  the  Ambula- 


V..1 


ST,   OEMS 


2;{7 


lory.  Do  not  be  in  a  hurry  to  enter.  On  the  contrary,  sit 
awhile  lon^'cr  in  the  body  of  the  Nave,  outside  the  barrier, 
and  read  what  follows. 

[The  custodians  hurry  you  so  rapidly  through  the  reserved 
part  of  the  church  that  it  will  be  well  before  entering  the 
enclosure  to  glance  through  the  succeeding  notes,  explanatory 
of  what  you  arc  about  to  see.  The  remarks  to  be  read  <ts  you 
^0  round  the  building  I  insert  separately,  in  the  briefest  pos- 
sible words,  as  aids  to  memory. 

The  tomb  of  Louis  XII  (d.  1515)  and  his  wife,  Anne  de 
liretagne  (d.   1514),  is  the  earliest  of  the  great  Renaissance 
tombs  in  France,  and  the  first  in  order  in  this  Uasilica.     Long 
believed  to  be  of  Italian  workmanship,  it  is  now  known  to  be 
the  production  of  Jean  Juste  of  Tours,  unknown  otherwise, 
but  supposed  to  be  a  Florentine.     It  is  imitated  from  the  Gian- 
galeazzo  Visconti,  already  mentioned,  in  the  Certosa  di  l^avia. 
This  tomb,  the  first  you  see,  struck  the  keynote  for  such  works 
of  the  Renaissance  in  France.     It  is  a  good  and  apparently 
French  imitation  of  the  Italian  origii  ,il,  and  it  fitly  marks 
Louis  XII's  place  in  the  artistic  movement.    Remember  his 
statue  by  Lorenzo  da  Mugiano  in  the  Louvre,  and  his  con- 
nertion  with  Cardinal  d'Amboise  and  the  ChAteau  de  Gaillon. 
The  next  important  monument  is  that  of  Dagobert  1  (d.  638), 
the   founder  of  the  Abbey,  probably  erected   in  his   honour,' 
as  a  sort  of  shrine,  by  St.  Louis  in  the  13th  cent.     In  order 
to  understand  this  tomb  (which  you  are  only  allowed  to  see 
across  the  whole  breadth  of  the  choir),  it  is  necessary  to  know 
the  legend  to  which  the  mediaeval  sculptures  on  the  canopy 
refer.     When  Dagobert  died,  demons  tried  to  steal  his  soul ; 
but  he  was  rescued  by  St.  Denis,  to  whom  he  had  built  this 
abbey,  assisted  by  St.  Maurice  and  St.  Martin  of  Tours— a 
significant  story,  pointing  the  moral  of  how  good  a  thing  it  is 
to  found  a  monastery.    The  narrative  is  told  in  three  stages, 
one  above  the  other,    (i)  An  anchorite,  sleeping,  is  shown  by 
St.  Denis  in  a  dream  that  the  king's  soul  is  in  danger  ;  to  the 
R,  Dagobert  stands  in  a  little  boat  (like  the  boat  of  Charon) ; 
demons  seize  him  and  take  off  his  crown.     (2)  The   three 
saints  come  to  the  king's  rescue,  attended  by  two  angels,  one 
swinging  a  censer,  the  other  holding  a  vase  of  holy  water  ;  St 


li 


J 


238 


PARIS 


[VI. 


Martin  and  St.  Denis  see  the  tortured  sou! ;  the  soldier  St. 
Maurice,  sword  in  hand,  attacks  the  demons.  (3)  The  three 
saints,  attended  by  the  angels,  hold  a  sheet,  on  which  the  soul 
of  Dagobert  stands,  praying.  The  Hand  of  God  appears  in  a 
glory  above,  to  lift  him  into  heaven.  These  are  on  the  canopy; 
beneath,  on  the  tomb  itself,  lies  a  modcn  restored  recumbent 
statue  of  Dagobert ;  there  are  also  erert  figures  of  his  son 
Sigebert  (restored),  and  his  queen,  Nantilde  (original). 

The  tomb  of  Henri  II  (d.  1559)  and  his  queen,  Catherine 
de  Medicis  (d.  1509)— the  third  of  any  importance— was  exe- 
cuted by  the  great  sculptor,  Germain  Pilon,  during  the  lifetime 
of  the  latter.  (It  was  he,  too,  you  will  remember,  who  made 
the  exquisite  group  of  figures,  now  in  the  Louvre,  to  support 
the  urn  which  was  to  ''ontain  their  hearts.)  As  in  many  con- 
temporary tombs,  the  king  and  queen  are  represented  alive 
and  kneeling,  in  bronze,  above,  and  nude  and  dead  in  marble 
on  the  tomb  below.  (We  saw  a  similar  tomb  at  the  Louvre.) 
A  second  monument,  close  by,  to  the  same  king  and  queen, 
has  recumbent  marble  figures  on  a  bronze  couch, — Catherine  is 
said  in  her  devouter  old  age  to  have  disapproved  of  the  nudity 
of  the  figures  on  the  first  tomb — but  as  it  was  usual  to  distri- 
bute relics  of  French  kings  to  various  abbeys,  such  duplicate 
monuments  were  once  common. 

The  tomb  of  Fr^degonde  (d.  597)  from  St.  Germain-des- 
Pres,  is  a  curious  mosaic  figure  of  marble  and  copper,  almost 
unique  in  character.  It  is  not  of  the  Queen's  own  age,  but 
was  added  to  her  shrine  in  the  I2th  century.  Most  of 
these  early  kings  and  queens,  founders  and  benefactors  of 
monasteries,  were  either  actually  canonized  or  were  treated  as 
saints  by  the  monks  whom  they  had  benefited :  and  tombs  in 
their  honour  were  repaired  or  reedified  after  the  Norman  in- 
vasion and  other  misfortunes. 

Two  monuments  of  the  cliildren  of  St.  Louis,  from  other 
abbeys,  carried  first  to  Lenoir's  Museum,  are  now  in  this  Basilica. 
They  are  of  enamelled  copper,  with  repouss^  figures,  executed 
at  Limoges. 

The  most  costly,  though  not  to  my  mind  the  most  beautiful, 
of  the  Renaissance  tombs  is  that  of  Francois  I*'  (d.  1 547).  On 
the  summit  are  kneeling  figures  of  the  King,  his  wife  Claude, 


[VI. 

ou! ;  the  soldier  St. 
ons.  (3)  The  three 
t,  on  which  the  soul 
)f  God  appears  in  a 
e  are  on  the  canopy ; 

restored  recumbent 
:  figures  of  his  son 
le  (original). 
is  queen,  Catherine 
iportance— was  exe- 
1,  during  the  lifetime 
^member,  who  made 

Louvre,  to  support 
)  As  in  many  con- 
re  represented  alive 
and  dead  in  marble 
Dmb  at  the  Louvre.) 
me  king  and  queen, 
;auch, — Catherine  is 
proved  of  the  nudity 

was  usual  to  distri- 
beys,  such  duplicate 

m  St.  Germain-des- 
:  and  copper,  almost 
)ueen's  own  age,  but 
century.  Most  of 
and  benefactors  ot 
i  or  were  treated  as 
^fited  :  and  tombs  in 
fter  the  Norman  in- 

t.  Louis,  from  other 
e  now  in  this  Basilica. 
iss6  figures,  executed 

1  the  most  beautiful, 
oisie''(d.  1547).  On 
ing,  his  wife  Claude, 


n.] 


ST.  DENIS 


239 


and  their  three  children.  The  reliefs  on  the  pedestal  represent 
the  battles  of  Marignano  and  Cerisole.  This  tomb,  like  that  of 
Louis  XII,  is  ultimately  based  on  the  Visconti  monument  in 
the  Certosa,  but  it  exhibits  a  much  later  and  more  refined 
development  of  French  Renaissance  sculpture  than  its  pre- 
decessor. It  is  by  Germain  Pilon,  Philibert  Delorme,  and 
(perhaps)  Jean  Goujon.  The  architectural  plan  is  noble  and 
severe  :  but  it  lacks  the  more  naive  beauty  of  Jean  Juste's 
workmanship. 

It  was  the  curious  custom  to  treat  the  bodies  of  French 
Kings  (who,  as  royal,  were  almost  sacred)  much  as  the  relics  of 
the  Saints  were  treated.  Hence  the  head  and  heart  were 
often  preserved  separately  and  in  different  places  from  the 
body  to  which  they  belonged.  Francois  I"  himself  was 
interred  here  :  but  an  urn  to  hold  his  heart  was  placed  in  the 
Abbaye  des  Hautes  Bruyires,  near  Rambouillet.  This  urn  is  a 
fine  Renaissance  work  by  Pierre  Bontemps.  Taken  to  Lenoir's 
Musiie  des  Monuments  at  the  Revolution,  it  was  afterwards 
placed  beside  the  king's  tomb  in  this  Basilica. 

Look  out  in  the  Apse  for  the  Altar  of  St.  Denis,  and  his 
fellow-martyrs.  Near  it  used  once  to  hang  the  Oriflpmmc, 
that  very  sacred  banner  which  was  only  removed  when  a  King 
of  France  took  the  field  in  person.  It  was  last  used  at  Agin- 
court.     A  reproduction  now  represents  it. 

The  other  monuments  can  be  best  observed  by  the  brief 
notes  given  as  we  pass  them.  The  arrangem-  s  for  seeing 
them  are  quite  as  bad  as  those  in  our  own  cathedrals,  and  it 
IS  impossible  to  get  near  enough  to  examine  them  properly. 
Therefore,  talte  your  bearings  from  tlie  Nave  before  you 
enter,  and  try  to  understand  the  architecture  of  the  choir  as 
far  as  possible  before  you  pass  the  barriers. 

Disregard  the  remarks  made  by  the  guide  (who  expects  a 
tip),  and  read  these  brief  notes  for  yourself  as  you  pass  the 
objects.] 
Enter  the  enclosure. 

North  Aisle  :   L,  several  good  mediaeval  recumbent  tombs, 
mostly  from  other  abbeys,  named  on  placards.     Read  them. 

Then,  Tombs  of  the  Family  of  St.  Louis,  recumbent,  also 
named  :  13th  and  14th  cents. 


I'i 


I* 


J 


f»" 


240 


PARIS 


I" 


i 


\- 


1 


■ 

) 

,3  , 


[vf. 


**Tomb  of  Loul5  XII,  and  his  wife  Anne  Je  Bretagne,  by 
Jean  Juste  of  Tours.  After  the  Certosa  monument.  Beneath, 
Twelve  Apostles ;  four  allegorical  figures  of  Virtues :  king  and 
queen,  in  centre,  recumbent  ;  above,  on  canopy,  king  and 
queen  kneeling.    On  base,  reliefs  of  his  Italian  victories. 

R,  column  commemorating  Henri  III,  by  Barthelemy  Prieur. 

Stand  by  steps  leading  to  raised  Ambulatory,  only  point 
of  view  for  **  Tomb  of  Dagobert,  on  opposite  side  of  choir, 
13th  cent.  Legend  of  his  soul,  see  above.  Erect  statues  of 
Sigebert,  his  son,  and  Nantilde,  his  queen.  Insist  on  time  to 
view  it  with  opera-glass. 

L,  **  Tomb  of  Henry  II  and  Catherine  de  Medicis.  King 
and  queen  recumbent,  in  marble,  below  ;  kneeling,  in  bronze, 
above.  At  corners,  the  four  cardinal  virtues,  bronze.  Also 
after  Certosa. 

Ascend  steps  to  Ambulatory. 

Below,  monuments  of  the  Valois  family. 

Above,  L,  second  monument  of  Henri  II  and  Catherine  de 
Mddicis,  recumbent  marble  on  bronze  mattress.  Obser\'e 
monograms  of  H  and  D,  as  on  Louvre. 

Proceed  round  Ambulatory.  Chapels  to  the  L  have  stained- 
glass  windows  of  12th  and  13th  cents.  Interesting  subjects, 
which  note  in  passing.  •*  Beautiful  view  across  the  church 
as  you  pass  the  transepts. 

In  the  centre  of  the  apse  of  the  Choir  (above  the  tombs  in 
Crypt),  is  the  Altar  of  St.  Denis,  with  his  fellow-martyrs,  St. 
Rusticus  and  St  Eleutherius— modern  imitation  of  the  original 
shrine,  broken  at  the  Revolution.  During  the  neuvaine  (nine 
days  after  St.  Denis'  day— Oct.  9)  the  Reliquaries  are  exposed 
in  the  Nave,  near  the  barrier.  On  one  side  of  the  Altar  is  a 
reproduction  of  the  Oriflamme. 

Beyond  this  Altar,  continue  along  the  h  juth  Side  of  the 
Ambulatory,  to  the  Sacristy.  Modem  paint  ngs,  here,  relat- 
ing to  the  History  of  the  Abbey.  Labels  beneath  describe 
their  subjects. 

Adjoining  it  is  the  Treasury,  containing  only  uninteresting 
modern  church  utensils. 

Beyond  the  Sacristy,  Tomb  of  Fr^egonde,  from  St. 
Germain-des-Pr(Js.  Hands,  feet,  and  face  probably  once 
painted. 


ui 
in 
ct 
g' 

A 
th 
th 
pj 


Li 

ab 
sa 
G( 

Hi 

of 


the 
tiir 

wit 
Ste 
anc 
too 
Joa 
sie{ 


«u.L 


[vr. 

nc  Je  Bretagne,  by 
lument.  Beneath, 
Virtues :  king  and 
canopy,  king  and 
m  victories. 
Barthelemy  Prieur. 
latory,  only  point 
osite  side  of  choir, 
Erect  statues  of 
Insist  on  time  to 

le  Medicis.  King 
neeling,  in  bronze, 
les,  bronze.     Also 


and  Catherine  de 
attress.     Obser\'e 

he  L  have  stained- 
teresting  subjects, 
tcross  the  church 

ove  the  tombs  in 
[ellow-martyrs,  St. 
:ion  of  the  original 
lie  neuvaine  (nine 
laries  are  exposed 
of  the  Altar  is  a 

)uth  Side  of  the 

It  ngs,  here,  relat- 

bcneath  describe 

inly  uninteresting 

^onde,  from  St. 
:    probably   once 


vr,] 


ST".   DENIS 


241 


Descend  steps  from  ambulatory. 

Descend  to  Crypt. 

This,  the  oldest  portion  of  the  existing  building,  was  erected 
by  Suger,  to  contain  the  Tombs  of  the  Three  Martyrs,  buried 
under  their  altar.  Its  architecture  is  the  most  interesting  of  all 
in  the  Basilica.  Notice  the  quaint  Romanesque  capitals  of  the 
columns.  In  the  centre,  bones  of  the  Royal  Family,  within  the 
grating.     Neglect  them,  and  observe  the  arches. 

In  the  Crypt  Chapels,  uninteresting  modern  statues  (Marie 

'  Antoinette,  Louis  XVI,  colossal  figures  for  the  Monument  of 

the  Due  de  Berry,  etc.).    Neglect  these  also,  and  observe  rather 

the  architecture  and  good  frag:nient«  of  glass  in  windows, 

particularly  a  very  naive  Roasting  of  St.  Lawrence. 

Return  to  church. 

Monument  of  Du  Guesclin,  1380. 

Louis  de  Sancerre,  1402. 

Rende  de  Longueville,  from  the  Church  of  the  Crit-tins. 

Blanche  and  Jean,  children  of  St.  Louis,  enamelled  copper, 
Limoges ;  from  other  abbeys. 

**Fran«ol8  !•',  his  wife,  Claude,  and  their  three  children, 
above.  On  pedestal,  Scenes  from  his  battles ;  High  Renais- 
sance work:  Philibert  Delorme,  Germain  Pilon,  and  Jean 
Goujon.    More  stately,  but  less  interesting  than  Louis  XII. 

**Um,  to  contain  heart  of  Francois  I",  from  the  nunnery  of 
Mautes  Bruy^res. 

Louis  d'Orl&ns  and  Valentine  of  Milan,  from  the  Church 
of  the  C^lestins. 
Charles  d'^tampes  ;  1336,  with  24  small  figures  of  saints. 

Leave  the  enclosure  and  return  to  the  church.  I  advise  you 
then  to  read  this  all  over  again,  and  finally,  go  round  a  second 
time,  to  complete  the  picture. 

The  Abbey  and  Church  are  closely  bound  up  at  every  turn 
\yith  French  history.  In  Dagobert's  building,  in  754,  Pope 
Stephen  II,  flying  from  the  Lombards,  consecrated  Charlemagne 
and  his  brother  Carloman.  In  the  existing  Basilica,  St.  Louis 
took  down  the  Oriflamnie  to  set  forth  on  his  Crusade  ;  and 
Joan  of  Arc  hung  up  her  armour  as  a  votive  ofTering  after  the 
siege  of  Orleans.     But  indeed,  St  Denis  played  an  important 

Q 


-nn."ji".j!!,)iji*.n 


*1»' 


.if 
iif 


242 


PARIS 


[VI. 


part  in  all  great  ceremonials  down  to  the  Revolution,  and  its 
name  occurs  on  every  page  of  old  French  history. 

On  your  return  to  Paris,  you  may  find  this  a  convenient 
moment  to  visit  5t.  Vincent  de  Paul,  which  lies  two  minutes 
away  from  the  Gare  de  Nord. 

After  visiting  St.  Denis  the  reader  will  probably  find  it 
desirable  to  examine  certain  objects  from  the  Treaauiy  of  the 
Basilica  now  preserved  in  the  Louvre.     They  are  mostly 
contained  in  the  Galerie  d'Apollon,  in  the  glass  case  nearest  the 
window  which  looks  out  upon  the  Seine.    (Position  of  cases 
liable  to  alteration  :  if  not  here,  look  out  for  it  elsewhere  in 
the  same  room.)    The  most  important  of  these  objects  is  an 
antique  Egyptian  vase  in  porphyry,  which  Abbot  Suger  had 
mounted  in  the  12th  cent,  in  a  silver-gilt  frame,  as  an  eagle.    It 
contains  an  inscription  composed  by   the   Abbot   in    Latin 
hexameters,  and  implying  that  it  was  to  be  used  for  the  service 
of  the  altar.    Near  it  is  an  antique  Roman  sardonyx  vase,  also 
mounted  as  a  jug  by  Suger  in  the  i2ih  cent.,  and  from  the  same 
Treasury  :  its  inscription  says,  "  I,  Suger,  offer  this  vase  to  the 
Lord."    Also,  another  in  rock-cry5tal,  which  has  been  similarly 
treated  ;  it  bears  the  name  of  Alienor  d'Aquitaine  :  she  gave 
it  to  Louis  VII,  who  passed  it  on  to  Suger:   a  12th  cent. 
inscription  on  the  base  records  these  facts,  as  well  as  its  dedica- 
tion to  Sts.  Rusticus  and  Eleutherius.    The  same  case  contains 
a  beautiful  Carlovingian  serpentine  paten,  which  formed  part 
of  the  treasure  of  Dagoberl's  Abbey.    Observe,  close  by,  the 
beautiful  silver-gilt  Madonna,  characteristic  French  work  of  the 
14th  cent.,  offered  by  Queen  Jeanne  d'Evreux  to  the  Abbey  of 
St.  Denis,  and  bearing  an  easily-deciphered  inscription  in  old 
French.    Note  that  the  Madonna  in  this  royal  offering  carries 
in  her  hand  the  fleur-de-lis  of  France.     Compare  this  work 
mentally  with  the  other   early   French    Madonnas  wt  have 
already  observed  in  the  Mediaeval  Sculpture  Room. 

Among  other  objects  in  this  same  case  observe  the  curious 
double  cross,  with  cover  and  lid  to  contain  it ;  where  the  inscrip- 
tion abo<e  the  head  of  the  inner  cross  indicates  the  natural 
origin  of  the  doubling.    Close  inspection  of  this  object  will 


L„. 


[VI. 
olution,  and  its 

ry- 

s  a  convenient 
es  two  minutes 


trobably  find  it 
reasury  of  the 

hey  are  mostly 
case  nearest  the 
osition  of  cases 

it  elsewhere  in 
se  objects  is  an 
bbot  Suger  had 

as  an  eagle.  It 
^bbot  in  Latin 
i  for  the  service 
donyx  vase,  also 
id  from  the  same 
r  this  vase  to  the 
is  been  similarly 
taine  :  she  gave 
r :  a  I3th  cent, 
fell  as  its  dedica- 
re  case  contains 
lich  formed  part 
ve,  close  by,  the 
ench  work  of  the 
to  the  Abbey  of 
iscription  in  old 

I  offering  carries 

II  pare  this  work 
ionnas  wc  have 
oom. 

ierve  the  curious 

where  the  inscrip- 

;ates  the  natural 

this  object  will 


VI.] 


ST.   DENTS 


243 


explain  to  you  many  little  points  in  others.  Several  similar 
Crucifixions,  with  Madonna  and  Si.  John  and  attendant 
angels,  are  in  the  same  room:  compare  them  with  it.  To 
the  R  is  a  good  relief  of  the  Maries  at  the  Sepulchre ;  a 
double  crucifix  with  St.  John  and  the  Madonna  ;  and  a 
reliquary  fashioned  to  contain  the  arm  of  St.  Louis  of 
Toulouse.  Most  of  these  objects  are  sufficiently  explained 
by  the  labels :  the  antique  inscriptions,  sometimes  in  Greek, 
are  easily  legible.    (Beautiful  view  out  of  window  to  l.) 

The  examination  of  this  case  will  form  a  point  of  departure 
for  the  visitor  who  cares  to  examine  the  minor  art-works  in 
the  Galerie  d'ApoUon  and  other  rooms  of  the  Louvre.    I  have 
left  them  till  now,  for  the  sake  of  the  peg  on  which  to  hang 
them.    I  will  therefore  note  here,  in  this  connection,  one  or 
two  other  thmgs  which  may  assist  the  reader  in  the  examination 
of  the  remainder,  leaving  him,  as  usual,  to  fill  in  the  details  of 
the  scheme  by  personal  observation  and  comparison  of  objects 
Walk  down  the  centre  of  the  Galerie  d'Apollon,  on  the  side 
towards  the  windows,  passing  the  tawdry  crown  jewels,  and  the 
many  exquisite  Classical  or  Renaissance  works  in  the  cabinet 
beyond  it,  all  of  which  you  can  afterwards  examine  at  your 
leisure.    (Some  of  the  antique  busts  in  precious  stones  come 
from  Abbey  Treasuries,  where  they  were  preserved  and  sancti- 
fied during  the  Middle  Ages.)    But  in  the  last  case  save  one, 
observe,  near  the  centre,  a  very  quaint  little  figure  of  St.  Law- 
rence, lying  comfortably  on  his  gridiron,  and  holding  in  his 
>ands  a  tiny  reliquary,  almost  as  big  as  himself-a  finger  with 
a  nail  on  it,  intended  for  the  reception  of  a  bone    •  the  Saint's 
own  little  finger.    This  odd  little  reliquary,  French  14th  cent 
when  compared  with  that  for  the  arm  of  St.  Louis  of  Toulouse,' 
will  help  you  to  understand  many  similar  reliquaries,  both  here 
and  elsewhere.    The  martyr  is  put  there  as  a  mode  of  signi- 
fymg  the  fact-"  This  is  a  bone  of  St.  Lawrence."    Above  it, 
note    again    five    charming    crosiers,  containing   respectively 
representations  of  the  Madonna  enthroned,  the  Annunciation, 
the  Coronation  of  the  Virgin,  again  the  Annunciation,  and  a 
decorative  design  of  great  beauty.    Note  their  date  and  place 
of  origin  on  the  labels.    When  once  your  attention  has  been 
called  to  the  occurrence  of  such  <iefinite  scenes  in  similar 


244 


PAnis 


[VI. 


IH, 


objects,  you  will  be  able  to  recognise  them  at  oner  for  yourself 
in  many  like  situations.  In  the  Annunciation  to  the  L,  observe 
once  more  the  very  odd  way  in  which  the  usual  lily  is  carefully 
obtruded  between  the  angel  Gabriel  and  Our  Lady.  Some 
obvious  barrier  between  the  two  was  demanded  by  orthodoxy  : 
here,  the  decorative  device  by  which  the  difficulty  has  been 
surmounted  is  clever  and  efTective.  Between  this  crosier  and 
that  of  the  Coronation,  look  again  at  a  queer  little  reliquary, 
held  by  the  Madonna  and  Child,  with  a  glass  front  for  the 
exhibition  of  the  relic,  \nother  Madonna,  close  by  to  the  L, 
similarly  holds  on  her  lap  a  charming  little  reliquary  basin. 
The  same  case  contains  several  cofiers  and  reliquaries  in 
champievi  enamel,  the  most  interesting  of  which  is  the  CoflTer 
of  St.  Louis,  with  decorative  designs  showing  Romanesque 
tendericies.  At  the  far  end  of  the  case,  two  charming  silver- 
gilt  an,-jels,  14th  cent.,  also  bearing  reliquaries.  Examine  in 
detail  a)l  the  objects  in  this  most  interesting  case.  They  will 
help,  I  hope,  to  throw  light  upon  others  which  you  will  see 
elsev/here. 

I  do  not  intend  to  go  at  equal  length  through  all  the  cases  in 
this  interesting  room  ;  but  your  visit  to  St.  Denis  ought  now  to 
have  put  you  in  a  fit  frame  of  mind  for  comprehending  the 
meaning  of  most  of  these  works  by  the  light  of  the  hints 
already  given.  I  will  only  therefore  call  special  attention  to 
the  beautiful  decorative  box,  containing  a  book  of  the  Gospels, 
in  French  enamel-work  and  jewellery  of  the  nth  cent.,  in 
the  last  windciv  on  the  right,  before  you  reach  the  Rotonde 
d'Apollon.  This  valuable  book-cover  is  also  from  the  Abbey 
Treasury  of  St.  Denis.  It  exhibits  the  usual  Crucifixion,  with 
the  Madonna  and  St.  John,  and  the  adoring  angels,  together 
with  figures  of  the  symbols  of  the  Evangelists,  whose  names 
are  here  conveniently  attached  to  them.  The  next  case,  to  the 
R  of  this  one,  also  contains  champlevd  enamels  of  the  12th  and 
13th  cents.,  all  of  which  should  similarly  be  examined.  Note 
among  them,  to  the  extreme  R  in  the  case,  a  very  quaint 
quatrefoil  with  St.  Francis  receiving  the  Stigmata ;  a  subject 
with  which  you  will  already  be  familiar  from  Giotto's  treatment, 
and  whose  adaptation  here  to  a  decorative  purpose  is  curious 
and  enlightening.      Next  to  it,   L,  a   Death  of  the  Virgin. 


«tl^4>. 


[VI. 

icf  for  yourself 
the  L,  observe 
lily  is  carefully 
Lady.  Some 
by  orthodoxy : 
:ulty  has  been 
lis  crosier  and 
little  reliquary, 
I  front  for  the 
se  by  to  the  L, 
eliquary  basin, 
reliquaries  in 
h  is  the  Coffer 
;  Romanesque 
larming  silver- 
Examine  in 
ise.  They  will 
1  you  will  see 


VI.] 


57.   OEMS 


245 


all  the  cases  in 
\  ought  now  to 
rehending  the 
i  of  the  hints 
al  attention  to 
>f  the  Gospels, 

nth  cent.,  in 
1  the  Rotonde 
am  the  Abbey 
rucifixion,  with 
igels,  together 

whose  names 
:xt  case,  to  the 
f  the  1 2th  and 
imined.  Note 
a  very  quaint 
ita ;  a  subject 
to's  treatment, 
ose  is  curious 
f  the  Virgin. 


Further  on,  two  delicious  little  plaques— one,  of  Abmham  and 
Melchisedech,  with  St.  Luke  — (.Abraham,  as  soldier,  being 
attired  in  the  knightly  costume  of  the  Bayeux  Tapestry) ;  and 
the  other  of  the  Offering  of  Isaac,  with  St.  Mark ;  two  of  a 
series  of  the  Evangelists  with  Old  Testament  subjects.  Above 
these,  the  Emperor  Heraclius  killing  Chosroes,  with  cherubmi. 
Still  higher,  a  most  exquisite  Adoration  of  the  Magi.  Also 
Christ  m  Glory,  in  a  mandorla,  with  the  symbols  of  the  Evan- 
gelists ;  and  two  closely  similar  Crucifixions,  with  a  Madonna 
and  St.  John,  and  adoring  angels.  Compare  these  with  the 
similar  subject  in  the  first  case  we  visited.  This  frame  also 
contains  three  charming  saints  in  Byzantine  style,  a  good  St. 
Matthew,  and  a  little  King  David  holding  a  psalter.  Do  not 
leave  one  of  the  objects  in  this  window  unidentified  and 
une.xamined. 

I  notice  all  these  decorative  treatments  here  merely  in  order 
to  suggest  to  the  reader  the  way  in  which  the  knowledge  he 
has  gained  of  the  fabric  of  St.  Denis  may  be  utilised  to  ex- 
amine works  of  art  from  the  great  Abbey  both  here  and  at 
Cluny.  You  will  find  it  useful  to  visit  both  collections  on  your 
return  from  such  a  church,  in  order  to  mentally  replace  in  their 
proper  surroundings  works  now  divorced  from  it.  Some  other 
good  objects  from  the  same  Tr.„.iiury  may  also  be  seen  at  the 
Biblioth^que  Nationale. 


VII 


r^ 


THE  OUTER  RING,  ETC. 

JpARIS,  outside  the  great  Boulevards  comprises  by 
L  L  far  the  larger  part  of  the  existing  city.  Nevertheless, 
it  contai.s  comparatively  few  objects  of  historical  or  artistic 
importance,  being  almost  entirely  modern  and  merely  resi- 
dential. Walks  and  drives  in  this  part  of  Paris  are  pleasing, 
of  course,  as  exhibiting  the  life  of  the  great  town,  and  they 
embrace  many  points  of  passing  interest,  such  as  the  Tro- 
caddro,  the  Champs  6lyst$es,  the  Champ-de-Mars,  the  Place 
de  I'Etoile,  the  Arc  de  Triomphe,  the  Pare  Monceau,  the 
church  of  the  Sacre-Cceur  on  the  height  of  Montmartre,  etc.,  etc. 
Most  of  these  the  visitor  will  find  out  for  himself.  T'.cy  do  not 
need  any  e:cplanation  or  elucidation. 

Among  the  very  few  objects  of  historical  interest  in  this 
district,  I  would  call  special  attention  to  the  Maison  de  Fran- 
cois 1",  on  the  Cours-la-Reine,atthe  first  corner  affir  you  pass 
the  Palais  de  Industrie.  This  beautiful  little  gem  of  domestic 
Renaissance  architecture  was  erected  for  Frangois  I''  at  Moret, 
near  Fontainebleau,  in  1527,  probably  as  a  gift  for  Diane  de 
Poitiers,  the  mistress  of  Henri  1 1,  though  it  is  also  asserted  that 
the  king  built  it  for  his  sister,  Queen  Margaret  of  Navarre.  It 
was  taken  down  in  1826, and  rebuilt  on  the  present  site.  The  style 
recalls  that  of  the  Renaissance  palaces  of  Venice.  The  delicate 
and  beautiful  decorativ2  work  of  the  pilasters,  etc.,  and  the  dainty 
portrait  medallions  deserve  inspection.  Do  not  miss  this 
charming  little  building,  which  should  be  compared  with  Jean 
Goujon's  portion  of  the  Louvre,  and  with  the  Renaissance 
remains  at  the  6cole  des  Beaux-Arts  and  elsewhere. 

A  collection  to  which  a  few  hours  may  be  devoted,  in  the  same 
connection,  by  those  who  have  time,  is  the  Mus^e  Camavalet 

»**  * 


VII.] 


THE   OUTER  RING,    ETC. 


247 


1  comprises  by 
Nevertheless, 
rical  or  artistic 
id  merely  resi- 
is  are  pleasing, 
town,  and  they 
:h  as  th*  Tro- 
[ars,  the  Place 
Monceau,  the 
martre,  etc.,  etc. 
'.    T'.cy  do  not 

nterest  in  this 
lison  de  Fran- 

r  affjr  you  pass 
em  of  domestic 
is  !••  at  Moret, 

for  Diane  de 

o  asserted  that 

f  Navarre.     It 

site.  The  style 

The  delicate 

and  the  dainty 

not  miss  this 

ired  with  Jean 

e  Renaissance 

ere. 

;d,  in  the  same 

e  Carnavalet, 


which  lies,  however,  wilhin  the  Boulevards.  The  building  is  a 
fine  Renaissance  mansion,  once  tlie  residence  of  Madame  de 
S^vignd  Many  of  the  objects  preserved  here  have  a  purely 
sentimental  and  to  say  the  truth  somewhat  childish  interest, 
consisting  as  they  do  of  relics  of  the  Great  Revolution  or  other 
historical  events,  which  derive  whatever  value  they  happen  to 
possess  from  their  senti.nental  connection  only.  But  some  of 
the  objects  have  real  artistic  and  historical  importance  ;  so 
have  the  decorations  by  Jean  Goujon.  When  you  h'we  seen 
everything  else  enumerated  here,  you  may  give  with  advan- 
tage a  Thursday  morning  to  this  somewhat  scratch  collection. 
The  most  important  objects  are  those  in  the  garden. 

For  the  Champs  ^lysdes,  the  Arc  de  Trioniphe,  and  the  other 
buildings  or  promenades  of  wealthy,  modern,  western  Paris,  the 
guidance  of  Baedeker  is  amply  sufficient. 


The  buildings  already  enumerated  and  the  objects  noted  in 
them  form  the  most  important  sights  in  Paris,  and  are  as  many 
as  the  tourist  is  likely  to  find  time  for  visiting  during  a  stay 
of  some  weeks.  If,  however,  he  can  add  a  few  days  to  his 
sojourn,  I  give  briefly  some  hints  as  to  a  list  of  other  objects 
worthy  his  notice— taking  it  for  granted,  of  course,  that  he 
will  find  his  way  to  the  Champs  ^lys^es,  the  Bois  de  Boulogne, 
the  theatres,  etc.,  by  the  light  of  nature,  not  unaided  by 
Baedeker.  Amid  the  mass  of  information  tendered  in  the 
ordinary  Guides,  the  visitor  scarcely  knows  how  to  distinguhh 
the  necessary  from  the  optional.  This  short  list  may  help  him 
in  his  selection. 

In  the  old  region  on  the  South  Side  (between  the  river  and 
Cluny)  are  two  churches  worth  inspection  by  the  antiquarian  : 
(i)  St.  Julien-le-Pauvre,  the  former  chapel  of  the  old  H6tel 
Dieu,  which  here  occupied  both  banks,  spreading  to  the  spot 
now  covered  by  the  statue  of  Chanemagne  ;  transitional ;  12th 
cent.;  and  (2)  St.  5^verln,  dedicated  to  two  local  Gallic 
saints,  of  the  same  name  ;  good  f  amboyant  Gothic ;  its 
interesting  portal  commemorates  St.  J  rtin,  part  of  whose 
famous  cloak  was  kept  in  a  chapel  here  ;  the  faiode  was 
brought  from  St.  Pierre-aux-Boeufs,  on  the  tie  de  la  Cit^,  de- 


M8 


PARIS 


fvil. 


molished  in  1837  ;  good  modern  reliefs  on  altar  represent 
episodes  in  the  lives  of  the  two  saints— St.  Severin  the  Abbot 
healing  Clovis,  and  St.  Sdverin  the  Hermit  ordaining  St.  Cloud. 
Altogether,  a  church  to  be  visited  and  understood,  rich  in 
historic  interest. 

Among  churches  of  the  later  period,  the  domes  and  their 
development  are  worthy  of  study,  as  illustrating  the  ideal  of  the 
17th  and  1 8th  cents.  The  earliest  was  5t.  Paul  et  5t.  Louis 
(originally  Jesuit),  16J7,  with  a  massive  and  gaudy  Louis  XIV 
doorway  ;  interior,  florid  and  tawdry,  after  the  Jesuit  fashion. 
Next  comes  the  5orbonne,  1635,  interesting  from  its  original 
connection  with  St.  Louis  (his  confessor,  Robert  de  Soriion, 
founded  the  hostel,  of  which  this  is  the  far  later  church,  for  poor 
theological  students) ;  it  is  the  first  important  dome,  and 
contains  an  overratea  monument  to  Richelieu  by  Lcbrun, 
executed  by  Girardon.  If  you  have  plenty  of  time,  you  may 
visit  it.  Then  the  Invalldes,  1705,  now  containing  the  tomb 
of  Napoleon.  Lastly,  the  Panthion,  already  described.  If 
visited  in  this  order,  they  form  an  instructive  series.  Note  the 
gradual  increase  in  classicism,  which  culminates  in  the 
Madeleine.  The  earlier  domes  resemble  those  of  the  Ro:-.ie  of 
Bernini :  the  later  grow  more  and  more  Grecian  in  their  sur- 
roundings. The  Institut  (included  here  for  its  dome)  and 
Val-de-QrAce  are  sufficiently  inspected  with  a  glance  in 
passing. 

The  churches  of  the  innermost  Paris  are  mostly  dedicated  to 
local  saints  ;  those  of  the  outer  ring  of  Louis  XIV  to  a  some- 
what wider  circle  of  Catholic  interest ;  among  them,  St.  Roch, 
the  famous  plague-saint,  deserves  a  visit ;  it  is  rococo  and 
vulgar,  but  representative.  The  churches  in  the  outer  ring  are 
of  still  broader  dedication,  often  to  newer  saints  of  humanitarian 
or  doctrinal  importance.  Among  these  quite  modem  buildings, 
5t.  Vincent-do-Paul  ranks  first,  on  account  of  its  magnificent 
frieze  by  Flandrin,  running  round  the  nave,  and  representing  a 
procession  of  saints  and  martyrs,  suggested  by  the  mosaics  in 
Sant'ApoUinare  Nuovo  at  Ravenna;  this  the  visitor  should  on 
no  account  omit ;  it  lies  near  the  Gare  du  Nord,  and  is  a  good 
example  of  the  basilica  style,  successfully  adapted  to  modern 
needs.    Baedeker  will  here  efficiently  serve  you.    But,  though 


»aL— - 


[VI  r. 

n  altar  represent 
ieverjn  the  Abbot 
iaining  St.  Cloud, 
derstood,  rich  in 

domes  and  their 
ig  the  ideal  of  the 
>aul  et  5t.  Louis 

jfaudy  Louis  XIV 
lie  Jesuit  fashion, 
from  its  original 
obert  de  Soriion, 
r  church,  for  poor 
rtant  dome,  and 
ilieu  by  Lebrun, 
jf  time,  you  may 
taining  the  tomb 
!y  described.  If 
series.  Note  the 
Iminates  in  the 
se  of  the  Ro:-.ie  of 
cian  in  their  sur- 
r  its  dome)  and 
ith   a    glance  in 

}stly  dedicated  to 
XIV  to  a  some- 
thcm,  St.  Roch, 
it  is  rococo  and 
ha  outer  ring  are 
i  of  humanitarian 
nodem  buildings, 
}f  its  magnificent 
id  representing  a 
y  the  mosaics  in 
visitor  should  on 
rd,  and  is  a  good 
ipted  to  modern 
)u.    But,  though 


VII.] 


THE   OUTEIf  h'/NO',    ETC. 


249 


artistically  fine,  Flandrin's  frescoes  are  not  nearly  so  etTective  as 
the  original  mosaics  in  Theodoric's  basilica.  The  oilier  great 
modern  churches-.St.  Aiigustin,  St.  Ambroise,  La  Trinitd, 
Notre-Dame-de-Lorette,  Ste.  Clotilde,  etc.— need  only  be  visited 
by  those  who  have  plenty  of  time,  and  who  take  an  intelligent 
interest  in  contemporary  Catholicism.  Hut,  if  you  can  manage 
it,  you  should  certainly  mount  the  hill  of  Montmartre,  the 
most  sacred  site  in  Paris,  both  for  the  sake  of  the  splendid  view, 
for  the  niemories  of  St.  Denis  (the  common  legend  says, 
beheaded  here  ;  a  variant  asserts,  buried  for  the  first  time 
before  his  translaiu.n  to  the  Abbey  of  St.  Denis),  and 
for  the  interesting  modern  Byzantine-Romanesque  pile  of 
the  Sacr^-Coeur  which  now  approaches  completion.  Close  by 
is  the  quaint  old  church  of  St.  Pierre-de-Montmartre,  and 
behind  it  a  curious  belated  Calvary. 

Those  whom  this  book  may  have  interested  in  church-lore 
will  find  very  full  details  on  all  these  subjects  in  Miss  Beale's 
"Churches  of  Paris."  Another  useful  book  is  Lonergan's 
"Historic  Churches  of  Paris."  With  the  key  I  have  striven 
to  give,  and  the  aid  of  these  works,  the  visitor  should  be  able 
to  unlock  for  himself  the  secrets  of  all  the  churches. 

Two  pretty  little  parks  which  deserve  a  passing  visit  are  the 
Pare  Monceau.  near  the  Ternei,  and  still  more,  the  Buttes 
Chaumont,  in  the  heart  of  the  poor  district  of  La  Villette 
and  Belleville,  showing  well  what  can  be  done  by  gardening 
for  the  beautification  of  such  squalid  quarters.  The  Jardin 
d'Acclimatation  in  the  Bois  de  Boulogne,  and  the  Jardin  des 
Plantes,  at  the  extreme  east  end  of  the  South  Side  are  both 
interesting,  especially  to  the  zoologist  and  botanist.  The  last- 
named  is  best  reached  by  a  pleasant  trip  on  one  of  the  river 
steamers. 

Of  collections,  not  here  noted,  the  most  important  is  the 
Mus^e  Quimet  of  Oriental  art,  near  the  Trocaddro.  It  should 
be  visited  (if  time  permits)  by  all  who  are  interested  in  Chinese, 
Japanese,  and  Indian  products.  The  Trocadero  itself  contains 
a  good  collection  of  casts,  valuable  for  the  study  of  comparative 
plastic  development ;  but  they  can  only  be  used  to  effect  by 
persons  who  can  afford  several  days  at  least  to  study  them  (in 


^5<» 


PAkIS 


[Vll. 


VII.] 


bT    IK 


Other  words,  rchidentii).  The  Kthnn^raphiciil  Mii!icum  in  the 
same  building  is  good,  but  need  only  detain  those  who  have 
specmi  knowledge  in  the  subject. 

Tu  know  what  to  avoid  is  almost  as  important  as  to  know 
what  to  visit.  Under  this  category,  I  may  say  that  no  intel- 
ligent person  need  trouble  himself  about  I'^re-Lachaise  and 
the  other  cemeteries  ;  the  Catacombs  ;  the  various  Hallcs  or 
Markets;  the  inieiiors  of  the  Conservatoire  de»  Arts  et 
Metiers  (except  so  far  as  above  indicated),  the  Uourse,  the 
Hanque  de  France,  the  Bibliothiique  Nationaie  (unless,  of 
course,  he  is  a  student  and  wishes  to  read  there),  the  Archives, 
the  Impriinerie  Nationaie,  the  various  Courts  and  Public 
Offices,  the  Gobelins  Manufactory,  the  Siivrcs  porcelain  works, 
the  Institut,  the  Mint,  the  Invalides,  liie  Chamber  of  Deputies, 
the  buildins,'^  in  the  Champ  de-Mars  (except  while  the  Salon 
there  i  |)cn),  the  Observatory,  and  so  forth.  In  Paris  pro- 
per, I  itiink  I  have  enumerated  above  almost  everything  that 
calls  for  special  notice  from  any  save  specLilists. 

Three  Excursions  from  Paris  arc  absolutely  indispensable 
for  any  one  who  wishes  to  gain  a  ckar  idea  of  the  France  of 
the  Renaissance  and  the  succeeding  epoch. 

The  lirst,  and  by  far  the  most  important  of  these,  is  that  to 
Fontalnebleau,  a  visit  to  which  is  necessary  in  order  to 
enable  you  properly  to  fill  in  the  nient.d  [)icture  of  the 
change  wrought  by  Fran9oi3  l"'  and  his  successors  in  French 
art  and  architecture.  It  is  an  inevitable  complement  to  your 
visits  to  the  Louvre.  This  excursion,  however,  should  only  be 
made  after  the  visitor  has  thoroughly  seen  and  digested  the 
Renaissance  collections  in  the  Louvre,  and  the  £cole  dei.'> 
Beaux-Arts,  as  well  as  the  Tombs  of  the  Kings  at  St.  Denis. 
Baedeker  is  an  amply  sufficient  guide  for  this  the  most  inter- 
esting and  instructive  excursion  that  can  be  made  from  P.^ris. 
One  day  suffices  for  a  visit  to  the  Chateau  and  a  glimpse  of 
the  Forest  ;  though  a  week  can  be  pleasantly  spent  in  this 
charming  region.  After  your  return,  you  will  do  well  to  visit 
the  Renaissance  Sculpture  at  the  Louvre  again.  Many  of  the 
works  will  gain  fresh  meaning  for  you  after  inspection  of  the 


surrt 
ture 

Tl 
of  tl- 
whei 
race, 
lilsti 
vaUu 
prob 
ings 

Tl 
struc 
a  du 
su:ni 
brou 
in  b( 
unirr 
or  m 
and 
grou 
sevei 
visit 
to  e 
and 
You 
worli 
clipp 
roun 
Take 
indie 
ance 

W 
youri 
have 
the  s 
histo 


■•uU- 


[Vll. 

Mii!icuin  in  thu 
those  who  have 


rtant  as  to  know 
y  that  no  intel- 
e-Lachaise  and 
irious  Hallcs  or 
re  des  Arts  et 
the  Bourse,  the 
nale  (unless,  of 
e),  the  Archives, 
ns  and  Public- 
porcelain  works, 
ber  of  Deputies, 
ivhile  the  Salon 
In  Paris  pro- 
everything;  that 


ly  indispensable 
f  the  France  of 

these,  is  that  to 
iry   in   ordei  to 

|)icture  of  the 
ssors  in  French 
)lement  to  your 
,  should  only  be 
nd  digested  the 

the  ^cole  det' 
;s  at  St.  Denis. 

the  most  inter- 
lade  from  Paris, 
ind  a  glimpse  of 
y  spent  in  this 

do  well  to  visit 
1.  Many  of  the 
[ispection  of  the 


VII.] 


THE   OUTER  RING,   ETC. 


251 


surroundings  for  which  they  were  designed,  and  the  architec- 
ture which  formed  tlicir  natural  setting. 

The  second  exmirsiun,  also  valuable  from  the  point  of  view 
of  the  study  of  the  Kcnaiss.mce,  is  that  to  5t.  (lernifiiii, 
where  the  ChAieau  itself,  and  the  extjuisite  view  from  the  Ter- 
r.ice,  are  almost  equally  deli^htrul.  Those  interested  in  pre- 
historic archfeoloKyi  too,  should  not  miss  seeing  the  very 
valuable  collection  in  the  Museum  installed  in  the  Chiiteau, 
probably  the  finest  of  its  sort  in  the  world,  and  rich  in  draw- 
ings and  other  remains  of  tlie  cave-men  of  the  Dordo^ne. 

The  third  excursion,  in  every  respect  less  plc.ising  and  in- 
structive, is  that  to  Ver«allles.  Thi«  must  be  taken  rather  as 
a  duty  than  as  a  pleasure.  Leave  it  for  some  enticing  day  in 
summer.  Neither  as  regards  <irt  or  nature  can  the  great  cum- 
brous palace  and  artificial  domain  of  Louis  XIV  be  compared 
in  be.iuty  to  the  other  two.  The  building  is  a  cold,  formal, 
unimposing  pile,  filled  with  historic  pictures  of  the  dullest  age, 
or  modern  works  of  often  painful  mediocrity,  whose  very  mass 
and  monotony  makes  most  of  them  uninteresting.  The 
grounds  and  trees  have  been  drilled  into  ranks  with  military 
severity.  The  very  fountains  are  aggressive.  Nevertheless,  a 
visit  to  the  palace  and  gardens  is  absolutely  necessary  in  order 
to  enable  the  visitor  to  understand  the  France  of  the  17th 
and  1 8th  centuries,  with  its  formal  art  and  its  artificial  nature. 
Vou  will  there  begin  more  fully  to  understand  the  powdered 
world  of  the  du  Barrys  and  the  Pompadours,  the  alleys  and 
clipped  trees  of  Le  N6tre's  gardens,  the  atmosphere  that  sur- 
rounds the  affected  pictures  of  Boucher,  Vanloo,  and  Watteau. 
Take  it  in  this  spirit,  and  face  it  manfully.  Here,  again,  the 
indications  in  Baedeker  are  amply  sufficient  by  way  of  guid- 
ance. 

When  you  have  seen  these  three,  you  need  not  trouble 
yourself  further  with  excursions  from  Paris,  unless  indeed  you 
have  ample  time  at  your  disposal  and  desire  country  jaunts  for 
the  sake  of  mere  outing.  But  these  three  you  omit  at  your 
historical  peril. 

In  conclusion,  I  would  say  in  all  humility,  I  am  only  too 
conscious  that  I  have  but  scratched  in  this  book  the  surface  of 


H 

, 

«Jorr 

Dng 
Dav 

H 

Deb 
IX'la 
Dcla 

1 

■ 

THE   END. 

lX-11 
Uian 
Dieu 

Don 
l)ra\ 
Uuu 

H 

111 

Kbo 
I'co 

^H 

. 

Egy 

H 

! 



(Jorrrugio,  8s- 

106,  107. 

(ierman  Sculpture,  181. 

Dngobcrt,  Tomb  of,  237, 

Ghirlandajo,  81,  151   153. 

David,  113.  114. 

(liotto,  74. 

Goldsmith's  Work,  53,  i93- 

Debroiw,  Jiicqucs,  315,  »»* 

Di'lacroix,  114. 

Goujon,  Jean,  67,  70,  167,  18a- 187, 

Doliirochf,  I'.iul,  109,  114,  »»9 

303,  335,  347. 

Uollii  Kobl)iii,  48,  170,  171, 

Greek  Sculpture,  155-163. 

Diana  of  GabU,  The,  16a.                        OnKiirA;  tti.  113. 

Dieulafoy    Collection    of    Persian 

(Witmc{  Museum,  349. 

Anliquities,  190,  191. 

■ 

DonatfUo,  169,  170. 

"     -      'hrodile,  158,   168.                                    ( 

Drawings,  CoUeclion  of,  19a. 

«o6,  107.                                                 ! 

Dutch  School  of  I'ainting,  The  104        .;  jI-I  -    V/)le,  Th-,  aoo. 

105,  114.                                           , 

1    fte  dc  In  CH^,  The,  13,  13,  16-30. 

Kbony  carvings,  53.                            1    Inj^'s,  84,  ir4 

Kcole  dcs   Beaux-Arts,   The,    224      |    IlaUafl  Pict^ln•^,  74  99- 

339.                                               i    .Sewlpture,  169-174. 

Egyptian  Antiquities,  189.                   '    Ivories,  5*.  53.  199. 

U» 

ill 


I'rrsian  Antiquiires.'iQj, 

-—  i'oltery,  51. 

Perugino,  75 

Hhcenicion  Antiquities,  i8<). 

Pilon,   Germain,    i8,   44,    183-186, 

338,  2JQ 

Place  dea  Victoires.  207. 
— —  des  Vosgps,  313. 
Pottery,  46-48,  19a, 
Poussm,  N.,  108,  no. 
Predella,  117. 
Primitifs,  Salle  des.  73-83. 
I'uvis  dc  Chavanneb,  58, 

Quai  fl  Orsay,  The,  917, 
Ouenlin  Matsys,  loi. 

Haphael,  85,  88.  95,  136-130,  337. 
Reliquaries,  193,  343-345. 


Tiiii.iRni  I'iRurcs,  193, 
Tapestry,  40,  43,  44,  48. 
Therniet,  The,  13,  35,  55. 
Titian,  93,  qj. 
Trocad«!ri),  The,  349. 
Troyon,  115. 
Tuileries,  The,  199. 


Van  DycU,  105. 
Van  Eyck,  87. 
Vases,  Greek,  193. 
VendOme  Column,  Tli 
Venus  of  Aries,  The 
Venus  of  Milo,  The, 
Veronese,  86,  90. 
Versailles,  351. 


II-.  210. 


159,  I'oa 


Watteau,  in,  113, 


Butler  A  Twiner,  The  Selwood  Printing  Wortaj,  Prome,  and  London. 


^^,« 


l<)3. 

H.  48. 
35.  55- 

49- 


Till ,  2ia 
le,  itJi. 
ir,  159,  lOa 


■nd  LodUqu. 


mmm 


I 


1 


\ 


